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I say, buy this book! It's much cheaper than therapy anyway.
What makes this book unique and useful is that Max Adams has not just researched her subject, she's lived it. Max Adams, a Nicholl Fellowship winner (the Academy's big-time screenwriting competition) and a produced Hollywood screenwriter (Excess Baggage), is the protagonist of this piece, and takes the reader along for the roller-coaster ride of getting a spec script read, repped by an agent, sold, and after surviving the development and rewriting gauntlets, produced. In many ways this book is as much about the script's survival as it is the scriptwriter's.
All the stock characters play a part in "The Screenwriter's Survival Guide." If you've been around the block a couple of times, you've met some of them yourself, and if you're new to the scene ... hang on, you will. The bozos, the bad agents, the users -- they're all here -- and Max Adams tells you how they're all lurking in Hollywood, trying to keep you out, or trying to take advantage of you once you're in.
Adams covers everything from the spec pitch (getting them to read the script you've already written), to the concept pitch (getting someone to pay you to write the script that's still in you're head), writer's speak vs. mogul's speak, taxes, getting around in Los Angeles, agents vs. managers vs. entertainment lawyers, the agent horror stories (all writers have 'em. Can't wait for the opportunity to share mine. Watch out, Maddie and Sam!) and so much more. Max Adams pulls no punches and even takes aim (boldly) at the Writer's Guild! But the mantra throughout is "get read." That's the most important hurdle you have to overcome trying to break into and remain in this business. First and foremost you must get read. If you don't get read, you're not going to sell, and if you don't sell ... you aint in.
Above all, this book is as hilarious as it is useful. The "dating metaphor" had me laughing out loud. The section on "parentheticals and other lies" had me nodding with delight. And I breathed a sigh of relief reading Adams's chapter on "the screenwriters' uniform." I was properly dressed for the occasion, in a well-worn pair of Levis 505s (writers should have many, in varying stages of wear), a "Fight Club" t-shirt (shamelessly plugging Chuck Palahniuk's book), a newish pair of sneakers, and a sports jacket draped over the back of my chair. Screenwriters don't wear Armani. If I had to pick the single most important piece of actual "writing" advice in this book, it would be "[Screenwriters] write verb driven action sentences, free of clutter, that move story." That's it. Boy, if you can get a handle on that, you're halfway home. So while Max Adams doesn't get bogged down in telling you how to write a movie script, she provides a great example, as the book is written in the same staccato style as one of her screenplays.
Being someone who's written about screenwriting in Hollywood (Writing with Hitchcock), I recommend Max Adams' book highly. You'll love it.
If you know the basics before you read, this book will be a ray of light that can save you months and years of struggle. It reads fast. Has depth. Feels like you're getting a pep talk from your big sister. Enjoy. I did.
This is not a manual on how to write. It's not a book on structure. It won't be what a brand new "newbie" will need. This book will be most useful to a screenwriter that's already read a book or two on story structure (Field, McKee, Campbell, or, my favorite, Seger), knows the basics of format (Trottier, Cole/Haag), and has written a MINIMUM of one screenplay.
What will it do? It'll give you experience. It doesn't say don't do this and don't do that. It says think before you do this and here's why.
It touches on parantheticals, overwriting, and other writing minefields. It focuses on methods of querying, who to avoid and the danger signs when sending out your work (BIG "NEW" POINT: learn this, understand it, live it), reading fees and the various services, the competition route into Hollywood, how to submit work, and provides opinions on the usefulness of various resources. Unlike other books of the "how to sell" sort, it comes from a writer that's sold in the '90s and not the 1890's. Hollywood changes fast.
Most importantly, it tells you what to do after you get sold. Other books cover "how to write" or "how to sell", but this book tells you what to do after you sell. That's rare. Mentioning the career of a screenwriter and not making a quick buck? Wow. For you that want a writing career, this is a gem. So many other books figure you'll figure it out as you go along. Well, if you don't like pain and wasted time, this books for you.
Also, in answer to the SINGLE negative review, most writers are aware that you shouldn't judge a writer by the resulting movie. In this case, "Excess Baggage". Read the script. It's amazing. It's the reason it got sold. Forget the film. Enjoy the script. Any comparisons to Syd Field or other gurus reveals the level of the writer -- brand new. It will help the brand new writer. However, that's not the intended audience. This for those who are serious about their dreams.
I hope this helps in your decision to pick up a delightful read.
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Yep, if there is one truly effective satirizer of the capitalist system, it is Scott Adams. This book is literally laugh-out-loud funny. (I had to hold my breath at times, to keep from waking my wife up repeatedly!) If you like Scott Adams and Dilbert, then I highly recommend that you get this book, it's great!
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Some of the stories do, in fact, reflect his love of outdoor sports such as fishing, camping, hiking, skiing, etc. In these, along with his bull-fighting vignettes, you can certainly see the beginnings of the Hemingway style of terse, to the point writing which accounts for much of his later fame. Reading his A MOVEABLE FEAST, in which he discusses the early years of his career, might further clarify things for you.
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This was very enjoyable for me. I would recommend that everyone take a risk and read this one.
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For example, Mr. Adams tells us that good business ideas--and the need to keep them ultra-secret--are almost worthless. If an idea is worthwhile (i.e. commercially viable), at least 20 or 30 groups around the country have already had the same idea. What truly matters is your team's ability to execute.
Mr. Adams's book is full of such myth-busting advice. Other examples include:
- The relative unimportance of the business plan
- Why too much investment $$ too early can ruin your business
- Why basing your marketing hopes on selling your new product through existing 3rd-party channels rarely makes sense
What I like most is that his advice doesn't come down to some 30,000 feet up platitudes. He shows in great detail precisely how to validate your market, get in the door with a VC, structure you venture financing to maximize value for both parties a the table, sell your product, etc.
All of this is written in a fast moving, in-your-face kind of tone. At the end, you feel like you've been taken to the "entrepreneur's woodshed" but feel grateful for the tough love.
The book debunks such myths as thinking that a revolutionary idea is required to have a great business, that the first thing you should do is rush to build and launch for first product, and that your first product needs to be the killer app that solves every pain your customer is experiencing. Instead, the author explores how to build a great team, how to validate the market before you build your first product, and how get to market quickly with a product that is "good enough". The author also spends several chapters clarifying how marketing and sales functions should be organized in a new business and the important tasks they should focus on.
In short, this book is full of practical advice for the entrepreneur, and is well worth the read.
For the money, this book is priceless.
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Granted, quite a bit of this information has appeared in print before, but Cohen brings it together for the reader who has 1) not been following the story, 2) does not have time or resources to research Ebay in the media or 3) found Ebay after it was already a national phenomenon. I'm number 3. Although I have been an avid Ebayer, myself, for almost five years, I have mainly bought and sold, staying on the fringes and not participating in the chat-rooms or discussion boards. I was very surprised to learn that these venues were part of the original Ebay plan and have been the impetus for some of the changes that I have seen take place over the last few years.
From the onset, Ebay has been a consumer-driven buyer-seller platform. Like all organizations, it has had its share of growing pains. Without taking sides, Cohen examines these, illuminating the multiple and various personalities that make up this global market place.
Cohen's writing style is very readable and he paces the book nicely, interspersing just enough anecdote among the business facts to keep the book from becoming a dry tome. (Bonus: The clever Ebayer may also pick up a tip or two for buying and selling.)
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In "Piano Lessons," Adams conveys the attraction of music, even for those of us who have little experience or talent in producing it. He details the course of a year in his life, a year when he decided to invest in a piano and learn to play it. Adams mainly used self-teaching methods, but also participated in a session with a private teacher and attended a week long music camp.
Besides chronicling the routines of practicing and acquiring a greater familiarity with the instrument, Adams' book branches off to cover other aspects of his life during the time, and a sizable amount of history of the piano and of notable pianists, past and present. Those tangents are mostly interesting and enjoyable, thanks to Adams' polished prose style.
What makes this book such a treasure is the exact same thing as what one reviewer callously calls "banal fluff": talking about his wife, his love for a piece of music that he longs to play but fears he can't, his experiences of meeting and talking with other musicians, his knowledge of pianos and of music in general, and his passion and appreciation for music of many styles. The process of learning a musical instrument is a journey, and Noah tells us of his. From the first chapter, when he talks of the secret desire he has held for years to buy a piano, to the last chord of Schumann's 'Träumerei' which he plays as a Christmas present for his wife, this book entranced me with the joys and the struggles of learning to play an instrument. Yes, he may have got there faster if he'd spent more time practicing and less time procrastinating, but chances are the results would have been far less rewarding, and the book would certainly have been far less interesting.
Ultimately, if you genuinely have a passion for music, there is no right or wrong way to go about learning. Noah did it this way, and he got there in the end. Who are we to criticise?