Product Description

The great challenge in writing a feature-length screenplay is sustaining audience involvement from page one through 120. Screenwriting: The Sequence Approach expounds on an often-overlooked tools can be key in solving this problem. A screenplay can be understood as being built of sequences of about fifteen pages each, and by focusing on solving the dramatic aspects of each of these sequences in detail, a writer can more easily conquer the challenges posed by the script as a whole.

The sequence approach has its foundation in early Hollywood cinema (until the 1950s, most screenplays were formated with sequences explicitly identified), and has been rediscovered and used effectively at such film schools as the University of Southern California, Columbia University and Chapman University. This book exposes a wide audiences to the approach for the first time, introducing the concept then providing a sequence analysis of eleven significant feature films made between 1940 and 2000.

The Shop Around the Corner / Double Indemnity / Nights of Cabiria / North by Northwest / Lawrence of Arabia / The Graduate / One Flew Over the Cuckoo's Nest / Toy Story / Air Force One / Being John Malkovich / The Fellowship of the Ring

Product Details

• Amazon Sales Rank: #85499 in Books
• Published on: 2004-04
• Original language: English
• Number of items: 1
• Binding: Paperback
• 224 pages

Features

• ISBN13: 9780826415684
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
• Click here to view our Condition Guide and Shipping Prices

Customer Reviews

Gulino is a great coach for battered screenwriters
Although I've had some success as a TV writer (with drama, sitcom, MOW and soap opera credits) I've never been able to crack the three-act structure commonly associated with screenwriting. For those like me, Paul Joseph Gulino's "Screenwriting: The Sequence Approach" is a godsend. He manages to cut that intimidating and unwieldy structure into much more manageable portions.

In the interest of full disclosure, I taught a TV writing course at Chapman University this spring where Gulino is a tenured professor. And I won't argue with those who might dismiss this review as influenced by that association. I can only point to my produced credits -- there's not a feature among them -- and my desire to write films (in addition to episodic TV) as justification for seeking out this book and embracing it. I strongly encourage others interested in screenwriting to do the same.

Gulino offers a thorough explanation of the eight-act sequence approach (pioneered by Frank Daniel at AFI, Columbia and USC) and an eclectic set of examples. His use of classic and contemporary features lets the reader reconsider and reconnect with some of these great films. Personally, I found this portion of the book an entertaining trek through the history of the craft. Along the way, Gulino also provides a concise and valuable summation of screenwriting techniques.

While beginners will benefit a great deal from this book, I think those who'll likely get the most out of it are those (again, like me) who've already wrestled with the standard screenplay structure -- and lost too many matches. Gulino is an encouraging coach with a different approach that makes a hellava lot of sense. Battered and bruised screenwriters will want to get back in the ring and try again.

One of the best books on screenwriting
Presents a superb approach to writing a screenplay, or any long story. Much more natural than Syd Field, or, God forbid, overly-Dramatica. Sequences break a story into eight manageable, bite-sized chunks, like chapters, instead of trying to break it up into 3, very large and very intimidating acts (Aristotle's "beginning, middle, and end" -- what the hell does that mean? Aristotle's advice equally describes a story and an elephant. Useless). Each sequence addresses a specific dramatic question in your story (sub-questions of the full, 3 act story), sets up the question, builds the conflict and resolution, while increasing the dramatic tension toward your full-story climax. The book provides examples from known movies, and explains dramatic techniques you may not have read before. This is an excellent book. Goes deeper into story building than many other books. Too many writers seem to forget the 1st Commandment of story writing: seduce the reader/audience into wanting to know what happens next. That's it. That's the bottom line for story writing. Any writer or writing teacher who snubs their nose at the 1st Commandment is full of B.S. This book helps you focus on the 1st Commandment.
Two more books every story writer should have: "Advanced Writing," by Wells Earl Draughon, and "A Story is a Promise," by Bill Johnson.

Nothing new here
I've bought the book without browsing through it, convinced by the so many excelent reviews it has.
If you've read a lot of books on writing/screenwriting you know there are lots of books out there repeating always the same vague concepts ("Raise the stakes!")
Mr. Giulino promises a new view of the story structure, away from Field's Three Act Structure. He calls it the Sequence Approach. In this view every every script is divided in 8 sequences (instead of 3 acts). But if you take a deep look, each sequence can be mapped to Field's paradigm. Divide the first Act in two. Divide the second Act in four (from TP1 to Pinch 1, Pinch 1 to Middle Point, MP to Pinch 2, Pinch 2 to TP2). And then divide the third act in two. There, you have the eight sequences. Easy, eh?
There could be more than that. Mr. Giulino could do that "new" structure and then discover a specific function for each sequence. This would be good. Well, it's not. What's the function of the third sequence? Raise the stakes. What about the fourth sequence? Raise the stakes even more, and increase tension. Well, thank you.
Moreover, less than 10 percent of the book is the theory, the rest being analysis of movies. And I even disagree with most of them.
Best advice: check it before buying it. The sequence approach is explained in three pages, and you can get a clear idea from them. If you still don't know, check his analysis of Toy Story!