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Creative Screenwriting: Understanding Emotional Structure, by Christina Kallas
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Christina Kallas argues for and sets out a genuinely original and creative approach to writing for the screen. This textbook aims to excite the imagination, inspiring and dramatizing stories with thematic richness, emotional depth and narrative rhythm. Structured like a screenplay, the book moves through the pre-credit sequence to the epilogue, interweaving theory, practice and case studies. Kallas combines an awareness of the history of dramatic writing with a very practical focus on how to find ideas and develop them. Supported by innovative and inspiring exercises that enable writers to create stories out of emotions and images, this book is challenging, motivating and essential reading for anyone interested in screenwriting.
- Sales Rank: #1085092 in Books
- Published on: 2010-07-15
- Released on: 2010-07-15
- Original language: English
- Number of items: 1
- Dimensions: 8.52" h x .58" w x 5.41" l, .80 pounds
- Binding: Paperback
- 224 pages
Review
"This book is long overdue - it finally exposes the emperor's new clothes of narrative screenwriting. The exaggerated emphasis on the narrative structure in screenwriting analysis is both misguided and tyrannical. It is the emotional journey that matters, not the narrative - as most moviegoers would tell you. The narrative is needed only as a skeleton to hang the real stuff upon, and Christina Kallas' insightful book provides a rare glimpse into the real stuff - the viewer's emotional journey and the way for the writer to provide for it."�— Milcho Manchevski, writer-director of Golden Lion winner, Academy-Award-nominated Before the Rain �"Creative Screenwriting�is at once practical and erudite. �Bringing the best of the art's greatest teachers together, both past and present, into one compelling 'dialogue,' Kallas delivers an excellent insight into our craft with the warmth and passion of a truly gifted writer and teacher. Of the many fine books on screenwriting one might have in their library... this is among the best." — David N. Weiss, co-writer, Shrek 2, Vice President, WGA, West
“A great screenplay is worth its weight in gold - not just to its author, but also its producer, director, actors and, most important of all, its ultimate audience. Creative Screenwriting is a great place for any screenwriter to mine for treasure. It's filled with insights, alternatives, stimulating exercises and springboards for your imagination.” — David Howard, Founding Director of the Graduate Screenwriting Program at USC and author of Tools of Screenwriting
"Smart. Thorough. Insightful. Kallas has an authoritative understanding of creative issues, historical issues, and the intellectual issues about screenwriting and covers them with a sense of the head and the heart of the subject. Filled with exercises, analysis, and thoughtful discussion, the book is an important addition for anyone wanting to learn more and write with more emotional depth." —Linda Seger, script consultant and author of Making A Good Script Great�
"A most erudite, encyclopedic and wise synthesis of the craft of screenwriting, which both novice and seasoned writer would do well to investigate. A fascinating overview of notions of drama and techniques, ancient and modern which should open writing horizons, and redefine the craft of screenwriting, inject it with the life, philosophy and emotional wisdom it increasingly lacks." —Jeff Gross, novelist, film director and writer of some forty screenplays
About the Author
CHRISTINA KALLAS is a screenwriter and producer and President of the Federation of Screenwriters in Europe (FSE).�She is the artistic director of the Balkan Fund and teaches screenwriting at the German Film and Television Academy Berlin and at the Aristotle University of Thessaloniki.
Most helpful customer reviews
5 of 5 people found the following review helpful.
Well worth the price of entry
By J. Sexton
I'm only half-way through the book, but so far it reminds me very much of Colleen Mariah Rae's Movies in the Mind, How to Build a Short Story, except this book focuses on screenwriting rather than short stories, and Christina Kallas comes off as far more steeped in the scholarship of dramaturgy and poetics.
All in all, an exceptional hybrid of a book on story structure and a helpful how-to guide of writing exercises. As I said, I've only completed the first half of the book and I already feel that I've gotten way more than my money's worth, though I do have to echo the comment of a previous reviewer, that this is probably not the best book for beginning students of story structure. If you are just getting started with story structure or narrative theory, let me recommend Save The Cat! The Last Book on Screenwriting You'll Ever Need, or Invisible Ink: A Practical Guide to Building Stories that Resonate, or even Robert McKee's Story: Substance, Structure, Style and The Principles of Screenwriting.
But if you're a serious student, this is a must-have book.
3 of 3 people found the following review helpful.
A Marriage of Reason and the Imagination
By thomas i phelan jr
This is a wonderful manual, but it isn't a manual, because a manual is what you need when you want to fly an airplane not write a screenplay. Instead, it's a springboard for your imagination. While synthesizing the best ideas of Frank Daniel and Linda Seger, among others, Ms. Kallas launches a novel writing approach that centers on emotion. Many screenwriting books are overly prescriptive, treating European art-house and American independent films--when they aren't ignoring them altogether--like failed Hollywood films. It's an upside-down world where the model supersedes the art object, but it's where we often find ourselves, in meetings and manuals, as if the reason we once built cathedrals was that we could then get our hands on some really great blueprints for cathedrals. Ms. Kallas corrects the balance by focusing on the creative process itself: she reintegrates emotion, which leads to an honest and engaging story, with reason, which helps us structure the narrative as we go along.
Emotional structure is less a formula than a beacon to guide you through the mists of complex narrative, past the Hollywood Scylla of cat-saving and the indie Charybdis of navel-gazing. Ms. Kallas shifts the emphasis from a film's plot points to its emotional development, which in an effective film remains coherent regardless of whether the narrative is single-protagonist and linear (Classical Hollywood structure), or multi-protagonist and non-linear (alternative structures). She grounds her approach in close readings of the right films (the book's subplot, as she calls it; most illuminating are her analyses of La Notte and The Celebration) and in practical exercises, the best of which are inspired by theatrical work, the kind actors do to better inhabit a character.
It's a difficult thing to talk about the emotional component of a film without slipping into sentiment, but Ms. Kallas pulls it off. She advocates a whole-brained approach. Free-form writing in the beginning shoos the inner critic out of the room and keeps the early drafts vital. Later, you can allow the critic back inside to play architect during the rewrites. There are some unexpectedly useful methods here for sparking the process, ways to generate a writing flow to blast through all the logjams. The exercises encourage careful observation of the world and of your own thoughts, helping you develop an honest story with an organic structure. Emotion, in the sense developed here, proves to be a flexible and effective organizing principle.
The book's most winning quality is Ms. Kallas's passion, humming beneath the scholarship. Already something of a marvel in being both an academic and a screenwriter--sadly, the industry and the academy rarely correspond, and when they do it's like Nixon in China, but without the interpreters--she impresses too with her commitment to improving the screenwriter's lot in the industry. She calls for a re-evaluation of the writer's contribution, and she persuades us in an epilogue that the auteur theory, which served a particular place and time, is mostly bollocks. If you want a balanced approach to structuring screenplays, a reminder of why you want to write in the first place, and a set of spurs for your imagination, then buy this book.
2 of 2 people found the following review helpful.
Not for Beginners, but fabulous
By Jodi Henley
This isn't a book for beginners. You need to know a lot about the subject, the Poetics, Aristotle and Plato, and a random assortment of odd facts--but, if you do? This book will blow you away. Although I need to back that up. This book will blow you away if you have an open mind and are willing to explore new ground. Kallas isn't easy to understand, and is occasionally almost "too" academic, but her work on emotional structure goes way beyond what is currently out there in the field.
It is "not" the right fit for someone still working through structure by the minute or believes turning points are set in stone. It's a tour de force of original thought by a master in her field. This book is front and center on my keeper shelf. Nice job.
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