Alternative Scriptwriting

Foreword; INTRODUCTION; 1. Beyond the Rules; STRUCTURE; 2 Structure; 3 Critique of Restorative Three-Act Form; 4 Counter-Structure; 5 The Three-Act Spectrum; 6 Strategies for Plot and Character: Surprise, Triangulation, and Subtext; 7 Multiple Threaded, Long-Form Episodic Scripts; GENRE; 8 Why Genre?; 9 Working with Genre; 10 Working with Genre II: The Melodrama and the Thriller; 11 Working with Genre III: Billy Wilder and Preston Sturges; 12 Working Against Genre; 13 The Flexibility of Genre; 14 Genres of Voice; 15 The Nonlinear Film; 16 The Fable, a Case Study of Darkness: The Wizard of Oz and Pan’s Labyrinth; CHARACTER; 17 Reframing the Active/Passive Character Distinction; 18 Stretching the Limits of Character Identification; 19 Main and Secondary Characters; 20 Subtext, Action, and Character; 21 Exceptional but Opaque Characters in Flattened Scripts; FORM, TONE, AND THEORY; 22 The Subtleties and Implications of Screenplay Form; 23 Theatricality on Screen; 24 Tone: The Inescapability of Irony; 25 Dramatic Voice/Narrative Voice; 26 Writing the Narrative Voice; 27 Regionalism vs Commercialism: Kelly Reichardt, Eugene Martin, and Kathryn Bigelow; 28 Adaptations from Literature ; 29 Rewriting; CONCLUSION; 30 Personal Scriptwriting: The Edge; 31 Personal Scriptwriting: The Short Film