Screenwriting Book: A Sweet Beginning from Philip Gladwin

'The book is WONDERFUL. Concise, clear, and uber-informative, to coin a phrase. You should only sell millions of copies...' Joe Whyte, Walt Disney Feature Animation, Los Angeles, USA

'Phil has a comprehensive understanding of dramatic structure and genre, enthusiasm for developing and strengthening stories, extensive knowledge of the development process, an understanding of the inner workings of drama commissioning across all channels - and first hand experience as a writer of the tricks and traps of the trade.' Kath Mattock (Double Bafta winning producer of 'The Cops', 'Buried' and 'The Queen's Sister'), London, UK

'Phil Gladwin is a patient, inspiring and practical script editor. He's an original, imaginative and disciplined screen writer. His ability to draw on both disciplines equips him exceptionally well to assist both new and established writers achieve the full potential of their screenplays.' Sophie Balhetchet (Producer, Cougar Films; Former Chairman of the Independent Programme Producers' Association), London, UK

And here is another review: Screenwriting book--Screenwriting Goldmine

Before enrolling in any classes you should become a screenwriting book junkie and absolutely immerse yourself in the craft. I say this because courses take a lot of time and money and to ensure you get the maximum from any class you should be well versed and fully prepped beforehand. Consider that if you went out and bought every screenwriting book on the recommended list it would cost you under $100. Not a bad price for a very thorough education from proven industry professionals.

My experience has generally agreed with that age-old saying, "those that can not do, teach". This is harsh I know and of course not always true. Having a strong command of different techniques and styles will help you determine for yourself, the frauds from the true teachers. Knowledge is power and a true teacher can literally set you free.

Philip Gladwin's ScreenwritingGoldmine: The quickest route to good production worthy scripts.

Screenwriting Book -- Screenwriting Goldmine

"I'm learning more about the art of screenwriting from you and your book than from all of my writing instructors and college professors. No joke!"
Jennifer Hawkins, USA

'As senior media executive in the states with over 20 years experience producing TV and running a major TV/Recording Studio I've recently dedicated myself to writing full time. With numerous awards and credits under my belt I see incredible value and insights in Phil's newsletters and book. You need not look further to find proven steps to help take your project to the next level. I'm incorporating Phil's work into my original feature projects, and already can see and feel an improvement. And this is just the start for me... I'm thrilled I found Phil... You will be too!' Andy Kadison, New York, USA

Now, you should take some in-class courses whether that is creative writing, or screenwriting, or both after you have stumbled, toughed, or danced through a good deal of screenwriting books. This will help you develop your personal writing style in a semi public venue (i.e. the classroom). I believe this to be a necessary step if you intend to become a professional. Do not be afraid to audit classes first.

Being a professional screenwriter means you make your living doing it. It is not nearly as glamorous as you may think, since the bulk of work is usually re-writing someone else's drivel for a paycheck. It is however extraordinarily rewarding in terms of artistic expression. You get to create entire worlds, people, places, and unique characters. What other job allows you that?

Become a screenwriting book junkie first and find out if you can hack it. Start writing, weep in frustration, pull your hair out in clumps, rail against the world and if you can still look yourself in the mirror through tear-swollen eyes then you probably have the balls and stomach for it. It is not a job for the faint of heart. You must have passion in abundance.

Your first script with Philip Gladwin's screenwriting book.
Whatever idea or great story concept brought you to screenwriting in the first place should probably NOT be your first script. Put that idea on the shelf. Why? Because you will be too precious with it and ultimately drive yourself insane. Save your great idea for when you have enough skill to do it justice. Start with something you marginally care about and just write, write, write. It will stink, stink, stink and you will learn, learn, and learn.
All we learn from success is that we can succeed. From failure we learn everything that is necessary to succeed.

Writers Block
You will experience many times where you stare at a blank page for an hour like some inbred imbecile who just had a frontal lobotomy. This is normal. DO NOT sweat it. Relax and breathe. This demon stalks every writer. You will fight this demon a thousand times in your screenwriting career, so here are some weapons to beat him again and again.

Weapons of War
When you find yourself facing writers block.
1. Pick two characters from your story that have had some kind of interaction with each other and write a letter from one to the other.
Example
To whom it may concern,
It has come to my attention Mrs.Hapchow that you have been spending time with my husband Frank after work. I understand you are colleagues and therefore must work in close proximity to each other during business hours. I do not understand how you can, in good conscious spend time with a married man outside of the office and in a questionable social setting. Have you no shame?
There are several Old World terms to describe someone of your weak moral fiber, but I prefer more modern terms like sl*t or floozy. These are descriptive terms that strongly characterize your recent conduct and therefore I have taken it upon myself to "egg" your house and deface your car.
Blah, blah, blah you get the idea.

2. Write a headline news article about an event or character in your story.
A breaking news report from CKOW, this just in:
This evening at approximately 9pm a local area resident know only as Frank was seen by several local residents streaking down 57th ave in nothing but his birthday suit. When cornered by police in Midenheimer park, Frank turned tail and ran back down 57th ave further providing residents with another look at his goods.
When Mrs Gladshaw, a local elderly resident was asked what she though of this indecent display she replied "Well, if the darn city had fixed all the street lights, perhaps I could have seen more! A lady my age does not get an opportunity like this often."
Blah, blah, blah you get the idea.

Now the point of all this is to simply start writing, anything, just get the juices flowing and avoid writer's paralysis by being proactive. And, you never know what cool things you may learn about your own characters. I just wrote this off the top of my head, stream of consciousness.

What I learned: other than I am weird. I did not know Frank was an exhibitionist, nor did I know that Mrs.Gladshaw was such a "peeper".

Relevance of this screenwriting tip: Let us suppose that in my script Frank's wife really did egg the house and deface the car of Mrs Hapchow. Well I now know that if I need her to get busted for this, then the most likely candidate for being a witness is the elderly Mrs.Gladshaw (a character who was not in my story before I just wrote this). Understand? Be proactive. You never know what you will discover.