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Summary: THIS BOOK IS THE INDUSTRY BIBLE!
Review: There are some serious distinctions to be made about books on screenwriting. Some of them are very good, very theoretical, very serious works. Some of them are throw-away one time reads.A very few of them are "working books", books that you will never throw away - books that you will use as a reference over and over again. "Screenplay" is one of those rare books. All of Field's books are excellent for this reason - they not only tell you how to write screenplays, they tell you why screenplays are structured in a unique way. It is understanding structure that is the key to writing movies. All the ideas about character development, the representation of myth, and the history of cinema are necessary to writing good screenplays. But only one thing is really essential and that is a clear understanding of a form that appears simple but is actually very complex. I still have many of the screenwriting books I have read over the years, but Field's books are the only ones I actually USE. I know many other screenwriters in the business who say the same thing. Fashion in screenplay writing and thinking about movies comes and goes - and every new writer thinks they either have to read the latest theory or re-invent the wheel - but when you actually write you only want a book that you can USE. Syd Field never goes out of style because he writes from a serious understanding of structure, and its the structure that you constantly return to in order to make the writing work. Buy this book and keep it - you will need it.
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Summary: THIS BOOK IS EXCELLENT
Review: Screenplay is excellent, scholarly yet very readable. And although it's obvious that the primary target audience is the serious film student, it's also an enjoyable and educative read for the serious (and pseudo-serious) film buff. Great read! I look forward to reading other books by Syd Field.
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Summary: A gem
Review: I am dismayed to read the angry personal attack my fellow writer from Boston has aimed at Mr. Field, who is a very kind and generous man. Through his experience at executive and creative consultant positions (and reading thousands of screenplays), Mr. Field has developed a very solid strategy for approaching the screenwriting process. His is NOT a system of 'whammies', but instead a series of sections of rising action. It is very difficult for some people to approach a 120-page piece when they've never written anything like it before. Mr. Field breaks the screenplay into a series of sections for the writer to work on to keep oneself (and one's audience) in the work. Mr. Field is also one of the few screenwriting teachers who places genuine weight on character development. This book along with his great 'Workbook' are excellent tools and guides for the screenwriter. I'd quickly recommend them both.
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Summary: An essential foundation to the art of story telling.
Review: This seminal work provides a critical framework for structuring a story within the context of the screenplay. Additionally, I found it invaluable in developing plot sequences to two novels,which are currently with editors. I bought the book, outlined it, and took the seminars. The result was a first screenplay that, although unpurchased, is called "compelling" and led to production companies requesting my other works (including the novels). I look forward to the sequel. Steve Dill, Lancaster, Calif.
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Summary: Please read this before you buy the book
Review: In one section of this book, Field discusses the necessity for "ten pages and a whammy." Meaning, every ten pages in your script you need to have a "whammy," defined in the book as violent occurence such as an explosion, car chase, etc. that will excite the audience. Anyhow, a friend of Field's once said to him, When you're writing a script, ten pages and a whammy. And then Field says to us, when you're writing a script, ten pages and a whammy. Don't let ten pages get past you without making a whammy happen. What the hell is he talking about? Seriously, folks... I NOT to write a screenplay. Eight years ago, when I first picked up this book -- and it was my first book on screenwriting -- I was thrilled, surprised, utterly charmed. But then I realized that Field had designed a system that is tepid and forumulaic to the worst extreme. Fine. Read the book. Ignore completely all of the other authors whose efforts discuss in far more detail aspects of character development, myth, storyline, etc. One more example, and then I'm done. Field slobbers over the film, Chinatown, written by Robert Towne. Granted, the film is a wonderfully written masterpiece, but Field reduces its entire meaning to WHICH PAGE THE PLOT POINT IS ON. In fact, in one section he discusses how he's told his seminar students for years that the plot point for Chinatown happened on page 27, when finally, one of his "enterprising" students pointed out that the plot point did, in fact, happen on page 33, and that Field contested it, but later realized that the student was right. And then he writes, in a kind of amazement, Here I was, telling them for years that the wrong plot point was the plot point!
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Summary: Great book for beginners
Review: I got this book after reading a review at ScreenStyle.com for screenwriters. It's an excellent resource and I'm going to buy all the rest of Mr. Field's books.
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Summary: overall a good book
Review: This book helps you get started and gives you an idea of what needs to be done. It should be followed step by step. Most good screenplays do not follow some rigid plan. Use it to understand the basics and get to writing!
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Summary: 2 1/2 Stars really, but they won't let me put that....
Review: You see, the thing is, this book is a terribly mixed bag in terms of usefullness (I hope I spelled that right). By that, I mean that most parts of it--particularly the storytelling and structuring sections--are basically useless to the independent screenwriter (such as myself). To someone ballsy enough to think they can break in via Hollywood, this book is probably a Godsend. It illustrates perfectly what Hollywood looks for in a screenplay. However, most indie writers don't really care what Hollywood wants--in fact, that's why alot of independent writers go independent--so they should pass on it. I WILL concede, however, that the passages on character building are reasonably sound, even though some of the excercises Mr. Field talks about are rather pointless (trust me, I did 'em). So for Hollywood screenwriters, I give it a '5' or an 'A'. But for independent screenwriters, I must give it a '0', or an 'F'.
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Summary: Overrated
Review: The idea of Syd Fields book is very tempting: One formula for everything; once you know it, writing is bliss. Alas it is not true. Creativity still means being creative. After I read this book I asked myself: 1) If Mr. Fields knows so much about scriptwriting how come I never heard of scripts written by him? 2) Did he really read the script of CHINATOWN? Don't get me wrong: I agree CHINATOWN is a great movie, but the *script* ... okay, it is obviously well crafted, but by no means overtowering everything else. Despite all this it is helpful to read the book. Because producers and other "important" people browse books like this and believe in the magic of "plot point", paradigm et. al. It helps when you at least have an idea what they talking about.
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Summary: I'll admit it's a good idea to read this book, but...
Review: Screenplay is a fine book, in a sense, simply because it has achieved such popularity that it has affected what studios expect from spec screenplays. A lot of it still holds true: most screenplays seem to have a "three act structure", whether or not the writer was thinking in these terms; most screenplays are very formulaic and created with buzzwords and phrases like "less black per page" and "show don't tell" in mind... Basically, most people want an easy paint-by-numbers approach to screenwriting. And all too often the paint-by-numbers crowd gets something produced (thankfully, most of them fail). The problem with this book is that the "Syd Field paradigm" isn't such a hot thing anymore. Movies such as Pulp Fiction, LA Confidential, and Unforgiven, to name a few, have shown us and Hollwood that story is much more important than structure. The other major problem is that many suggestions within the book will get your work rejected at a glance. For instance, Syd Field basically suggests that we "direct on the page" when he advises occasional references to camera angles, reverses, POV, and close-ups in the slug line. Bad idea. I found this book interesting but creatively stifling and a bit misleading. The author has his heart in the right place but seems a bit too sure of his theories. Story and creativity are much more important than structure. The best way to tell if you're "on track" with your story is to ask yourself, "Do I like this?" Don't ask yourself, "How can I get Act One to end on page 27?"
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