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How to Write a Screenplay: Script & Screenwriting Tips. By The Writers Store It's easy to feel intimidated by the thought of writing a screenplay.

How to Write a Screenplay: Script & Screenwriting Tips

The rules! The formatting! The binding! Don't let the seemingly endless parade of screenwriting elements scare you away from writing your first script. Combine that with the right screenwriting software, books and supplies, and you'll be ready to type FADE IN before you know it. Sample Screenplay Page Recommended Screenwriting Software for Writing a Screenplay What is a Screenplay? In the most basic terms, a screenplay is a 90-120 page document written in Courier 12pt font on 8 1/2" x 11" bright white three-hole punched paper. A screenplay can be an original piece, or based on a true story or previously written piece, like a novel, stage play or newspaper article. For example, it's crucial to remember that film is primarily a visual medium. The First Page of a Screenplay The top, bottom and right margins of a screenplay are 1".

The very first item on the first page should be the words FADE IN:. Catch-22. Catch-22 is a satirical novel by the American author Joseph Heller.


He began writing it in 1953; the novel was first published in 1961. It is set during World War II from 1942 to 1944. It is frequently cited as one of the greatest literary works of the twentieth century.[2] It uses a distinctive non-chronological third-person omniscient narration, describing events from the point of view of different characters. The separate storylines are out of sequence so that the timeline develops along with the plot. Concept[edit] Among other things, Catch-22 is a general critique of bureaucratic operation and reasoning. Other forms of Catch-22 are invoked throughout the novel to justify various bureaucratic actions. Yossarian comes to realize that Catch-22 does not actually exist, but because the powers that be claim it does, and the world believes it does, it nevertheless has potent effects. Synopsis[edit] The development of the novel can be split into segments. Style[edit] List of Themes/Motifs:

Dune (franchise) Herbert died in 1986.[8] Beginning in 1999, his son Brian Herbert and science fiction author Kevin J.

Dune (franchise)

Anderson have published a number of prequel novels, as well as two which complete the original Dune series—Hunters of Dune (2006) and Sandworms of Dune (2007)—partially based on Frank Herbert's notes discovered a decade after his death.[9][10][11][12][13][14][15][16] A sequel, Dune Messiah, followed in 1969. A third novel called Children of Dune was published in 1976, and was later nominated for a Hugo Award.[21] Children of Dune became the first hardcover best-seller ever in the science fiction field.[22] In 1981 Herbert released God Emperor of Dune, which was ranked as the #11 hardcover fiction best seller of 1981 by Publishers Weekly.[23] 1984's Heretics of Dune, The New York Times #13 hardcover fiction best seller of that year,[24] was followed in quick succession by Chapterhouse: Dune in 1985.[25] Herbert died on February 11, 1986.[8]

TV Tropes. Economist Robin Hanson, inspired by a scholarly analysis of Victorian literature,[6] suggests TV Tropes offers a veritable treasure trove of information about fiction - a prime opportunity for research into its nature.[7] Informality[edit] Article Organization[edit] The site includes entries on various series and tropes.

TV Tropes

An article on a work includes a brief summary of the work in question along with a list of associated tropes. In addition to the tropes, most articles about a work also have a "Your Mileage May Vary"[10] (YMMV) page with items that are deemed to be subjective. Trope pages are the inverse of articles on works: after describing the trope itself, it lists the trope's appearance in various works of media. Trope Descriptions[edit] The site has even created its own self-referencing meta-trope, known as "TV Tropes Will Ruin Your Life". Expanding Scope[edit] See also[edit] References[edit] External links[edit] How To Write A Movie (screenplay) - The Visual Writer. How To Series How To Write A Movie A Basic Guide By Dorian Scott Cole All Rights Reserved Published in print by National Writers Workshop with AFI support as: How To Write A Screenplay: A Guide For High School Students.

How To Write A Movie (screenplay) - The Visual Writer

How To Write A Movie (screenplay) The Basics About About This Guide Hit & Run Quick Start Summary Example: Prom Date Getting StartedWhat To Write Writing Methods FundamentalsCharacterization Plot Scene Dialogue Short ScriptsSet-ups For Short Scripts Characters For Short Scripts FormatFormat Perfecting Rewriting the Best Kept Secret in Hollywood Helpful ThingsStop theft! Teacher's Information Resources About This Guide This section is designed as a quick guide to essential information. Quick Start Summary Use this summary to start creating your screenplay right away.

What to write: it's up to you Write about what interests you. Unusual things and surprises really get attention (but don't get too radical). Writing Methods: pick a method, any method Stories have three acts... exciting acts! Act I. Jules Verne. Jules Gabriel Verne (/vɜrn/;[1] French: [ʒyl vɛʁn]; 8 February 1828 – 24 March 1905) was a French novelist, poet, and playwright best known for his adventure novels and his profound influence on the literary genre of science fiction.

Jules Verne

Verne was born to bourgeois parents in the seaport of Nantes, where he was trained to follow in his father's footsteps as a lawyer, but quit the profession early in life to write for magazines and the stage. His collaboration with the publisher Pierre-Jules Hetzel led to the creation of the Voyages Extraordinaires, a widely popular series of scrupulously researched adventure novels including Journey to the Center of the Earth, Twenty Thousand Leagues Under the Sea, and Around the World in Eighty Days.

Life[edit] Early life[edit] Nantes from Île Feydeau, around the time of Verne's birth In 1834, at the age of six, Verne was sent to boarding school at 5 Place du Bouffay in Nantes. The sudden marriage sent Verne into deep frustration. Studies in Paris[edit] Literary technique. A literary technique (also known as literary device) is any method an author uses to convey his or her message.[1] This distinguishes them from literary elements, which exist inherently in literature.

Literary technique

Literary techniques pertaining to setting[edit] Literary techniques pertaining to plots[edit] Literary techniques pertaining to narrative perspective[edit] Literary techniques pertaining to style[edit] Literary techniques pertaining to theme[edit] Literary techniques pertaining to character[edit] Literary techniques pertaining to genre[edit] Notes[edit] Jump up ^ Orehovec, Barbara (2003). References[edit] Heath, Peter (May 1994), "Reviewed work(s): Story-Telling Techniques in the Arabian Nights by David Pinault", International Journal of Middle East Studies (Cambridge University Press) 26 (2): 358–360. Retroactive continuity. There are various motivations for retconning.

Retroactive continuity

The changes may occur to accommodate sequels or derivative works, allowing newer authors or creators to revise the diegetic (in-story) history to include a course of events that would not have been possible in the story's original continuity. Retcons allow for authors to reintroduce popular characters and resolve errors in chronology. Science fiction writers are occasionally confronted with new scientific developments which disprove assumptions made in a previous story or book. For some of these cases, no amount of retconning could "save" a story – for example, many early works of science fiction assumed that Venus was a watery planet – but in many other cases, clever retconning allows the story to retain scientific plausibility under the new conditions. Etymology[edit] The first published use of the phrase "retroactive continuity" is found in Elgin Frank Tupper's 1974 book The theology of Wolfhart Pannenberg.[3] Types[edit] Addition[edit]

MacGuffin. In fiction, a MacGuffin (sometimes McGuffin or maguffin) is a plot device in the form of some goal, desired object, or other motivator that the protagonist pursues, often with little or no narrative explanation.


The specific nature of a MacGuffin is typically unimportant to the overall plot. The most common type of MacGuffin is an object, place or person; other types include money, victory, glory, survival, power, love, or other things unexplained. History and use[edit] Alfred Hitchcock[edit] Interviewed in 1966 by François Truffaut, Alfred Hitchcock illustrated the term "MacGuffin" with this story:[6][7] It might be a Scottish name, taken from a story about two men on a train. Hitchcock related this anecdote in a television interview for Richard Schickel's documentary The Men Who Made the Movies and for Dick Cavett's interview. George Lucas[edit] Yves Lavandier[edit] Broader use[edit] Some dictionary definitions are even more vague and generalized. Examples[edit] See also[edit] Plot twist. When a plot twist happens near the end of a story, especially if it changes one's view of the preceding events, it is known as a surprise ending.[2] Early example[edit] An early example of the murder mystery genre[4] with multiple twists[5] was the Arabian Nights tale "The Three Apples".

Plot twist

It begins with a fisherman discovering a locked chest. The first twist occurs when the chest is broken open and the dead body is found inside. The initial search for the murderer fails, and a twist occurs when two men appear, separately claiming to be the murderer. Surprise ending[edit] A surprise ending is a plot twist occurring near or at the conclusion of a story: an unexpected conclusion to a work of fiction that causes the audience to reevaluate the narrative or characters.[2] Mechanics of the twist ending[edit] Anagnorisis[edit] Flashback[edit] Unreliable narrator[edit] Peripeteia[edit] Deus ex machina[edit] Deus ex machina is a Latin term meaning "god out of the machine. " Poetic justice[edit] Chekhov's gun. Chekhov's gun is a dramatic principle requiring that every element in a narrative be necessary and irreplaceable, and that everything else be removed.[1][2][3] Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off.

If it's not going to be fired, it shouldn't be hanging there. Variations on the statement include: "One must never place a loaded rifle on the stage if it isn't going to go off. See also[edit] Foreshadowing, casual use of elements which become important laterOccam's razor, a similar principle for assessing potential explanationsRed herring, drawing attention to a certain element in order to mislead References[edit] Jump up ^ Petr Mikhaĭlovich Bit︠s︡illi (1983), Chekhov's art, a stylistic analysis, Ardis, p. x Jump up ^ Daniel S. Suspension of disbelief. Suspension of disbelief or willing suspension of disbelief is a term coined in 1817 by the poet and aesthetic philosopher Samuel Taylor Coleridge, who suggested that if a writer could infuse a "human interest and a semblance of truth" into a fantastic tale, the reader would suspend judgement concerning the implausibility of the narrative. Suspension of disbelief often applies to fictional works of the action, comedy, fantasy, and horror genres.

Cognitive estrangement in fiction involves using a person's ignorance or lack of knowledge to promote suspension of disbelief. The phrase "suspension of disbelief" came to be used more loosely in the later 20th century, often used to imply that the burden was on the reader, rather than the writer, to achieve it. This might be used to refer to the willingness of the audience to overlook the limitations of a medium, so that these do not interfere with the acceptance of those premises.

Coleridge's original formulation[edit] Coleridge recalled: ”... Fix-up. The Bicentennial Man. According to the foreword in Robot Visions, Asimov was approached to write a story titled "Bicentennial Man" for a science fiction collection, along with a number of other authors who would do the same, in honor of the bicentennial of the United States. However, the arrangement fell through, leaving Asimov's the only story actually completed for the project. Asimov sold the story to Judy-Lynn del Rey, who made some small changes to the text.

Asimov restored the original text when the story was collected in The Bicentennial Man and Other Stories (1976).[1] Plot[edit] A character named Andrew Martin requests an unknown operation from a robotic surgeon. The story jumps to 200 years in the past, when NDR (his serial number forgotten) is brought to the home of Gerald Martin (referred to as Sir) as a robot butler. Little Miss, at this point, is married and has a child, Little Sir. Andrew begins to wear clothes, and Little Sir (who orders Andrew to call him George) is a lawyer. References[edit] Robot series (Asimov) The Robots of Dawn (1983) The Robot series is a series of short stories and novels by science fiction author Isaac Asimov (1920-1992) featuring positronic robots. Most of Asimov's robot short stories, which he began to write in 1939, are set in the first age of positronic robotics and space exploration. The unique feature of Asimov's robots are the Three Laws of Robotics, hardwired in a robot's positronic brain, with which all robots in his fiction must comply, and which ensure that the robot does not turn against its creators.

The Caves of Steel and The Naked Sun are both considered classics of the genre, but the later novels were also well received, with The Robots of Dawn nominated for both the Hugo and Locus Awards in 1984,[1] and Robots and Empire shortlisted for the Locus Award for Best Science Fiction Novel in 1986.[2] Asimov later integrated the Robot Series into his all-engulfing Foundation series, making R. Another inconsistency is the positronic brain development.

Foundation series. Publication history[edit] Original stories[edit] Foundation trilogy[edit] Later sequels and prequels[edit] In 1981, Asimov was persuaded by his publishers to write a fourth book, which became Foundation's Edge (1982).[3] Four years later, Asimov followed up with yet another sequel, Foundation and Earth (1986), which was followed by the prequels Prelude to Foundation (1988) and Forward the Foundation (1993). Plot[edit] Prelude to Foundation[edit] Prelude to Foundation opens on the planet Trantor, the empire's capital planet, the day after Hari Seldon has given a speech at a conference. Throughout their adventures all over Trantor, Seldon continuously denies that psychohistory is a realistic science. Forward the Foundation[edit] Eight years after the events of Prelude, Seldon has worked out the science of psychohistory and has applied it on a galactic scale.

Foundation[edit] Once on Terminus, the inhabitants find themselves at a loss. Foundation and Empire[edit] Second Foundation[edit] How to Write a Screenplay. Auguste Villiers de l'Isle-Adam. The Future Eve. Last and First Men. Olaf Stapledon. Edgar Rice Burroughs. Peter F. Hamilton. Arthur C. Clarke. Isaac Asimov. Robert A. Heinlein. Rendezvous with Rama. Nebula Award for Best Novel. Frank Herbert. Dune (novel) Nebula Award. An Interactive Guide to NPR's List of Top 100 Science Fiction and Fantasy Books.

  1. victortmlvd Dec 1 2012
    Será que "O jardim do vizinho é sempre mais bonito" , como costumamos dizer por aqui?? O Brasil é um país tropical, muito rico, temos riquezas naturais e diversos tipos de frutas. Mas eu me fascino pela Europa! Como o país é tropical, nasci no Sudeste, Estado de Minas Gerais, de clima bastante fresco... Mas a vida me trouxe ao Nordeste, estado da Bahia, onde me desagrada o calor intenso...
  2. boyanboyanov Dec 1 2012
    O Brasil é um país bonito!A Europa é interessante olhar.....Aqui, no entanto, está cheio de tolos....Eu não gosto de Europa
  3. victortmlvd Nov 30 2012
    я вразилски, а люблю изучатб язикы. говорю по-португалски, по-аиглиски,по-фраизуски, по-испаиски. А здесъ изичаю иеметский а руссий языкы. буду идти за Еуропы 8. декавр.
  4. boyanboyanov Nov 30 2012
    Привет! Я уже научился на этом языке;) какой национальности вы?
  5. victortmlvd Nov 30 2012
    здрвавсмвйме! Вы говорите по-русски? Я изучаю язык.