Fans pick 100 books like Tales from the Script

This book coined the maxim far and away the most quoted in Hollywood to this day: “Nobody knows anything.” I first read it the year before I broke in. My copy is heavily annotated with yellow highlighter and red pen; a black paperclip still marks the second of Goldman’s two capitalized maxims, “Screenplays are structure.” The value of this book to anyone wanting to understand – or survive in – Hollywood is that, ironically, Goldman, one of the most successful screenwriters and novelists in Hollywood history, knew almost everything, not only about screenwriting, but also the psychology, cautious care, and perilous feeding of actors, directors, executives, and the rest of the Hollywood zoo. It’s both a textbook and survival guide, illustrated with a veteran’s vivid stories about life behind the tinsel.

Sidney Lumet directed Twelve Angry Men and The Verdict, among many others, and the beauty of this short book is just how practical he is about his craft. In the magazine interviews and hagiographies about directors, we seldom get a true sense of the working day on a movie set, or what happens long before shooting begins and months after it finishes. But here Lumet reveals why he always tried to schedule a very simple shot for the first set-up on day 1 of production, the value of a rehearsal period (if he was granted one) and that he took a lunchtime nap. From first being offered a script to the final sound mix, this is what a movie director really does.

I must have read a hundred books about story structure over the years. Somehow, perhaps because of some story-related blind spot on my part, none of them ever seemed to stick.

My problem was always the middle. Middles can sag. It seems that a story's interior becomes little more than the wasteland a protagonist must traverse to get from the mystery of a beginning to the ultimate challenge of an ending.

Yorke's Into The Woods celebrates the middle. He reminds us that the essential crux of a story lies in its midpoint. Right at the heart of an effective story, he argues, lies a fundamental transformation, a change so great that the protagonist emerges with new powers into a new world.

Furthermore, by analysing stories in five acts rather than three, he allows for an elegant symmetry in which the first and fifth, second, and fourth acts mirror one another.… show more.

Once upon a time, in a small apartment in Brooklyn, an unemployed, unproduced, unagented writer sat down to start a script. Three days later he finished it. Twelve months of rewrites and he sold it. Four years later it was made. And a year after that it won the Oscar for Best Original Screenplay. But, Michael Arndt notes in his modest introduction to the shooting script, this isn’t “a rewards-of-virtue narrative”; it’s a story about the razor-thin line between success and failure – and how, as Dwayne says in the movie, you should “do what you love and fuck the rest”. Words to live – and write – by.

Oscar-nominated, Emmy-winning Eleanor Perry put her training as a psychiatric social worker to extraordinary use writing now-classic films including the hypnotic David and Lisa and The Diary of a Mad Housewife. She brought the same dramatic skills and insights to examining her own life as a writer at a time when women faced nearly impossible challenges in Hollywood. The result was this deeply felt, authentic, often autobiographical novel. My wife Loraine Despres, herself a highly regarded novelist and TV writer, gave it to me when I first confessed an interest in screenwriting. The book, now unjustly out of print but hopefully available from libraries and at a price from rare book dealers, has haunted me ever since.

I read Alexandra’s book years ago and she’s since released several revised editions. This book provides an insightful history of the 3-act and eight sequence structures she uses, and offers invaluable insight into overcoming the pitfalls of the dreaded “second-act sag”. But perhaps the most important lesson her book instilled in me is the importance of taking the time to analyze the structure of your own favorite movies and novels to understand why they resonate with you. She calls this your Master List and it’s a tool that every writer should have in their toolbox to improve their craft. 

This was recommended to me as having been the lyrical inspiration to songs by several musical artists I was listening to in my teens. To this day I am still baffled and impressed as to where on Earth Dick ever found the ideas for some of these stories. Almost experimental in their nature, particularly at the time of writing, and breaking ground as he went along, P. K. Dick’s skill of crafting chilling perspective scenarios again and again have, become popular film plots. In this book and his other short story collections, you can feast on many more deeply original plots, any number of which could be made into Hollywood films. Many years ahead of his time and almost predicting the disposable instantaneous world we would live in, Dick’s short stories almost arrived from the future themselves. I think he had the edge on dialogue too. I don’t own a… show more.

It might seem presumptuous to call 50 films from 1939 "classics" but I agree with Vieira that these 50 movies deserve that distinction. This book is filled with all the pertinent information, fun facts, and great visuals. Movie stills, behind-the-scenes candid photos, portraits, and poster art make this a memorable volume to treasure. I particularly like the attention Vieira gives to the many outstanding movie directors working in 1939.

I’m a little biased with this one, because Eve was my neighbor growing up and something of a literary fairy godmother, but there are few writers who capture the spirit of Los Angeles with more fascination and ease. Her work is messy—delightfully so, like eavesdropping on that friend who always has the craziest stories to tell about her exploits, and her prose captures her inimitable personality. She notices things about Los Angeles that will make you fall in love with the city all over again, or book your first visit if you’re from out of town. Perfect for readers who want to feel a sense of intimacy with their books, or people like me who love listening in on gossip, the messier the better. Eve always delivers!

Ted Sennett is one of the most prolific and widely-read writers about Hollywood and this book on 1939 is one of his very best works. It is filled (one might even say, stuffed) with behind-the-scenes stories. The writing is sometimes critical and analytical rather than gushing as in some of Sennett's many coffee table books. He concentrates on only seventeen 1939 movies so one doesn't get a full picture of that amazing year of movies. It's good to see some lesser-known classics like Midnight and Angels Have Wings included in the seventeen.