Fitzgerald Did It: The Writer's Guide to Mastering the Screenplay

by Meg Wolitzer

A one-of-a-kind guide to help writers translate their literary talents to the big screen.

This is a book for all writers, be they published or unpublished, novelists or journalists, who want to write for the movies. Meg Wolitzer, who has transformed herself from novelist to novelist/screenwriter, shows writers how they, too, can use their grasp of story, language, and character to write great screenplays. Wolitzer discusses those aspects of screenwriting that can stymie even the most seasoned of writers. Her topics include:

* getting started
* the essential three-act structure
* how writers can use what they already know about writing
* why write a treatment and how to do it
* how to write visually instead of verbally
* creating for the market

Wolitzer also advises on shedding obstructive writing habits and adapting one's own work and the work of others for the big screen. Level-headed, encouraging, and always delightful, Fitzgerald Did It is a must for every writer's bookshelf.
"If you try to write a screenplay, as I do, and you don't know what you're doing, as I don't, you have to read this book, as I have. Repeatedly." --Cathleen Schine, author of The Love Letter and The Evolution of Jane

Genres: Writing, Nonfiction

208 pages, Paperback

First published May 1, 1999

About the author

Meg Wolitzer is the New York Times–bestselling author of The Interestings, The Uncoupling, The Ten-Year Nap, The Position, The Wife, and Sleepwalking. She is also the author of the young adult novel Belzhar. Wolitzer lives in New York City.

Reviews

[Jim Dooley · Rating 4 out of 5]

Considering that F. Scott Fitzgerald was a failure at writing screenplays (even if he did write the “bonnet scene” as is rumored for GONE WITH THE WIND), this seemed an odd title for a screenwriting book. However, I soon became aware that this is a screenwriting guide for writers of other literary types ... novels, short stories, poems, articles, etc. ... who want to try writing for the movies.

Screenwriting is, of course, very different from other forms of writing. As the writer points out, it is a visual storytelling medium in which every scene needs to contribute to the storyline. Long character internalizations and witty exchanges that are created solely because they seem funny are likely to fall flat in a motion picture.

The writer begins by explaining her frustration with the existing screenwriting books that she consulted while trying to learn the craft. In addition to the information she needed, they were filled with requirements that she already knew very well because she was a novelist. Reading chapters on the importance of creating believable characters was of no help because she had the knowledge. However, segments describing how to communicate character qualities to a viewing audience was valuable.

The writing style is conversational ... and a tad “elitist” from time to time. (It was difficult having a movie that I enjoyed readily dismissed as an uninvolving work.) At the same time, she provided good information to avoid pitfalls that have trapped many other writers of different mediums who have set their sites on screenplays. I can’t say that there were any earth-shattering revelations, but I was given food for thought in reevaluating my own work.

Unless this book has been updated, it is essential for the current Reader to realize that the book was published in 1999. This was before there were many outlets for finished films through streaming services, and a filmmaker with an iPhone can literally make a movie using the device (see UNSANE). So, the advice that is provided assumes that the Readers want Hollywood to make their movies. Also, the process of protecting a finished screenplay has also changed.

Still, there are things perfectly compatible with the films released today, such as film producers being aware of two kinds of movies (those that could make huge amounts of money and those that won’t) and that the preferred type of film for studios is the action/adventure movie. (As I write this, CAPTAIN MARVEL has become a mega-hit despite even fans admitting that it is “mostly explosions.”) Despite things changing, many things remain the same.

It is a worthwhile book for the beginning Screenwriter (or one wanting a refresher) of the skills needed that are different from those used in other forms of writing. And it may even be heartening to read her assertion that anyone can learn to be a Screenwriter, but that being a writer requires innate awareness and sensitivity (not her words, but my interpretation of them)!

[Keanu Sousa Mendes]

There’s a bunch of movie references in this short book that are pretty dated, though I found the general advice to be incredibly insightful.

Highly recommend this book to anyone feeling intimidated by the writing process or specifically screenwriting structure.

This book helped reassure me of the many doubts I had with my own structure. Glad I stole this book. (Will return soon, chill.)

[Darren Sapp · Rating 4 out of 5]

Highly recommended for novelists but also those interested in screenwriting.

[Adina · Rating 3 out of 5]

Decent advice. Not the best or most comprehensive screenwriting book out there but could be helpful, and it's a quick read.

[Jill · Rating 4 out of 5]

I just discovered Meg Wolitzer in a thoughtful essay in 'Real Simple' magazine on the 'Psychology of Happiness.' http://www.realsimple.com/work-life/l... I had to look up the name of the magazine, usually when I rack my brain to remember it, I get a title like "Simple Good," which I guess is not so far off.

Seems that Meg Wolitzer writes novels, which look really interesting, but I was surprised to find I already had a book of hers, on my screenplay shelf. The analytical approach to understanding the bones of story for how it functions in a novel, and differently in a screenplay, are laid out in a compelling way. No wonder this book was almost a novel-like read instead of being a 'how-to' book. Found this little Wolitzer essay on the Beatrice blog as well, with insights into genre chick lit. http://www.beatrice.com/archives/0012...

[Melody · Rating 3 out of 5]

Liked that it treated you like a writer, already familiar with basic things such as creating characters etc. Most screenwriting books seem geared towards the person who has never written anything at all. This one helps the "pro" understand the nature of stories of screen versus a novel. However, it was still kinda weak since I'd already read Syd Fields. Syd is the grand master of screenplay writing. I think some of the best screenwriting advice I've found, however, was online. Syd doesn't go over developing treatments, which for me is crucial. The whole thing about loglines and treatments really help someone with a "novelist" mentality transition into scripts.

[Alex Forni · Rating 3 out of 5]

It's hard to find a good screenwriting book. This one was ok, going to try Save the Cat next. They all say that they are the "definitive" guide...but, well, not so much.

[Tye · Rating 3 out of 5]

This book was an easy read. It provided lots of good info.

[Hannah]

I like her attitude.