Rating: 
Summary: More advice than an actual manual
Review: 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.
Rating:
Summary: BY FAR THE BEST SCREENWRITING BOOK YOU CAN GET
Review: 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
Rating:
Summary: I Won't Take Instruction From Anyone Else
Review: 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.
Rating:
Summary: An excellent guide to what makes compelling writing.
Review: This was a thoroughly enjoyable read on the art and craft of writing. It explained to me what makes a page-turner a page-turner, whether it be a short story, a novel or a screenplay. Mr. Walter explains, then shows, how the basic structure of every great screenplay is the same (and the details that make them beautifully different). He explains in simple terms why some stories make the reader keep reading, and the moviegoer keep watching. Mr. Walter clearly has read thousands of scripts from the best in the business and from many newcomers to the craft, and he draws heavily on this extraordinary breadth of experience. He explores the elements that make a screenplay worth our attention, and what goes wrong when a screenplay turns the audience off. He shares his insights with great and gentle humor that teaches without offending. I doubt I'll ever write a great screenplay, but this book certainly gives me reason to try and an encouraging voice to guide me. Best of all, even if I do not write the next, great screenplay, the book taught me a lot about why I find so few movies worth my while any more.
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