Writing the Character-Centered Screenplay, Updated and Expanded edition

by Andrew Horton

"We need good screenwriters who understand character." Everywhere Andrew Horton traveled in researching this book―from Hollywood to Hungary―he heard the same refrain. Yet most of the standard how-to books on screenwriting follow the film industry's earlier lead in focusing almost exclusively on plot and formulaic structures.

With this book, Horton, a film scholar and successful screenwriter, provides the definitive work on the character-based screenplay. Exceptionally wide-ranging―covering American, international, mainstream, and "off-Hollywood" films, as well as television―the book offers creative strategies and essential practical information.

Horton begins by placing screenwriting in the context of the storytelling tradition, arguing through literary and cultural analysis that all great stories revolve around a strong central character. He then suggests specific techniques and concepts to help any writer―whether new or experienced―build more vivid characters and screenplays. Centering his discussion around four film examples―including Thelma & Louise and The Silence of the Lambs― and the television series, Northern Exposure , he takes the reader step-by-step through the screenwriting process, starting with the development of multi-dimensional characters and continuing through to rewrite. Finally, he includes a wealth of information about contests, fellowships, and film festivals.

Espousing a new, character-based approach to screenwriting, this engaging, insightful work will prove an essential guide to all of those involved in the writing and development of film scripts.

Genres: Writing, Film

254 pages, Paperback

First published September 22, 1994

Reviews

[brianna · Rating 2 out of 5]

2.5
There was some good advice here but some outdated stuff that I wouldn't recommend now, 30 years later.

[Emma Niessink · Rating 3 out of 5]

Wasn’t the most thrilling read but did have some helpful tips!

[Steven · Rating 5 out of 5]

This book was a huge surprise because it is not at all what its title hints it might be. Horton is, first off, putting himself in opposition to the Syd Field theory of screenplay that is focused on structure. Secondly, he takes Bakhtin's notion of carnivalesque as his foundation for a theory of character. Given that starting point, it shouldn't be too surprising that this book is actually full of literary theory and analysis. Although it does have some craft chapters and exercises designed to generate writing that is character rather than structure oriented, this book is more targeted as an argument for non-stereotyped and cliched characterizations. Pretty much everything he covers applies as much, if not more so, to fiction, as it does to film.

[James · Rating 3 out of 5]

When approaching the beginning of any story, be it a novel, a screenplay, or an opera, spending the time to develop your knowledge of your characters is key. This book provides a variety of ways to get to know them, short of having a cocktail party with them. Beyond that it provides an excellent timeline for writing a a screenplay that is very reasonable and helps the writer get out of their own way and get the job done.

Which is an excellent thing.