Available Back Issues
for Creative Screenwriting

($10.50 Each Including s/h -- Buy Four, Get One Free)

Winter 1996 -- Classic Screenplays

Shane Black, the writer of LETHAL WEAPON and noted spec-salesman, discusses sex, violence, his influences and spec-sale strategies in this feature interview. Lee David Zlotoff, noted television writer (creator of MACGYVER), makes his feature writing/directing debut with THE SPITFIRE GRILL and takes you from concept to screen in this enlightening interview. Terry Southern, the late, great screenwriter provides the inside dope on his screenplays for EASY RIDER and DR. STRANGELOVE. His cutting remarks on Dennis Hopper's writing and discussion of the missing scene in DR. STRANGELOVE shouldn't be missed. Producer and screenwriter Ron Suppa dispells the myths that have arisen in the 20 years since Rocky's release and provides an inside look at how Hollywood operates in his article Taking ROCKY to the Mat After 20 Years. John Sayles independent feature RETURN OF THE SECAUCUS SEVEN set the mold for many independent features that followed. Learn how Sayles's emphasis on dramatic, funny, often raunchy dialogue also helped pave the way for other young writer-directors to make a major impact. What is satire? How can writers build it into their scripts? Ira Nayman analyzes 20 years of film satire, from NETWORK to TO DIE FOR and suggests how changes in American culture have influenced what satire is acceptable. The scripts for ROCKY, THE LONG KISS GOODNIGHT, BUTCH CASSIDY AND THE SUNDANCE KID, WHEN HARRY MET SALLY and CLERKS are also reviewed.

Fall 1996 -- The Writing of Oliver Stone

Academy Award-winning writer Oliver Stone (MIDNIGHT EXPRESS) talks about the craft of writing, the projects he has written and gives advice for aspiring screenwriters. His screenplays for PLATOON, NIXON and WALL STREET are reviewed. Also interviewed is Stone's collaborator David Veloz (NATURAL BORN KILLERS), Ron Shelton (TIN CUP, Bull Durham) and Academy Award-winning writer Michael Blake (DANCES WITH WOLVES). Bill Pace, a respected screenwriting teacher takes an in-depth look at Oliver Stone's lauded screenplay for SALVADOR, and suggests why this script marks the beginning of "a personal cinema" for Stone. Mira Kopell turns her historical screenwriting experience toward defining the Ethics of Writing Historical Scripts in her essay "Everybody Must Get Stone." She provides practical advice on how far history can be bent before snapping back on the author. And Ron Suppa discusses his on-location experiences as a screenwriter in "Dodging Bullets on a Scout in Morocco."
Summer 1996 -- Writing for Independent Film

John Sayles (LONE STAR, Return Of The Secaucus SEVEN) talks about his dual life of writing and directing independent films and working as a Hollywood scriptwriter-for-hire. His draft of the script for Apollo 13 is reviewed, along with Mike Figgis' screenplay for LEAVING LAS VEGAS and the classic scripts for LAST YEAR AT MARIENBAD and JAWS. Patrick Duncan, the third highest paid screenwriter in Hollywood discusses the craft of screenwriting and his script for MR. HOLLAND'S OPUS. Robert McKee lays down his Ten Commandments of scriptwriting and discusses the state of the industry. Neal Feinberg interviews four comedic writing teams (including Lowell Ganz and Babaloo Mandell) for his article on "Dynamic Duos." Mary Dalton takes a critical perspective on popular culture in her comparison of the writing of CHICAGO HOPE and ER. Paul Lucey lays out Twelve Strategies for Enhanced Visual Content in your scenes. And George Petersen discusses Building Character Through Violence.
Winter 1995 -- Writing for Action Films

Robert Rodriguez (EL MARIACHI) discusses writing action films and directing FROM DUSK TILL DAWN. Two major drafts of Quentin Tarantino's script for DUSK are reviewed in Cynthia Baughman's article, "Tarantino on Tarantino." Catherine Clinch breaks the Industry open in her keynote essay "Women In Action." Two of the writers of WATERWORLD, Peter Rader and David Twohy are interviewed. Janet and David Peoples (TWELVE MONKEYS, UNFORGIVEN) discuss writing action films and their writing partnership. Charles Deemer analyzes five classic action scenes in his discussion of "The Rhetoric of Action." Neill Hicks (RUMBLE IN THE BRONX) outlines "The Underlying Morality of Action-Adventure Films" in his analysis of THREE DAYS OF THE CONDOR, TERMINATOR 2, THE MAN WHO WOULD BE KING, THE AFRICAN QUEEN and other film scripts. The screenplays for THE TERMINATOR, SPEED, DIE HARD, ESCAPE FROM NEW YORK, CASINO and DESPERADO are also reviewed.
Fall 1995 -- Writing for Television

Michael Piller (Executive Producer of STAR TREK: VOYAGER and ST: DEEP SPACE NINE) is interviewed on writing for STAR TREK. He lays out exactly what spec submissions he's looking for under ST: VOYAGER's open submission policy. Chris Carter (THE X-FILES) is interviewed along with staff writer Howard Gordon. Their discussion is accompanied by J.C. Summerford's controversial script review of THE X-FILES. Ron Suppa presents his celebrated "Notebook for Writers and Six Laws for Your Career as a screenwriter." Tom Stempel discusses the resurrection of TV drama in his article, "Return From the Dead." Greg Smith plots the patterns of narration in SEINFELD in his excellent article "Plotting a TV Show About Nothing." Douglas Heil examines the form and content of Marion Hargrove's writing in arguing the television scriptwriter can also be an auteur. Will Csaklos described his vision of a Faustian encounter in "The Devil and Syd Field." Scripts for STAR TREK: VOYAGER, PICKET FENCES, NYPD BLUE and HOMICIDE are also reviewed.
Winter 1994 -- The Writing of Quentin Tarantino

Award winning writing instructors Richard Walter and Steven Katz discuss the Style, Structure and Focus of Tarantino's Writing. What is a Tarantino Script? Charles Deemer's detailed analysis of four of Tarantino produced screenplays answers that question and illustrates how Tarantino has developed as a writer. NATURAL BORN KILLERS brought Oliver Stone back into the media spotlight, but what about Tarantino's original contribution. Kevin Boon analyzes both scripts and makes some very interesting conclusions in "Stoning Tarantino." In his article "Pop Go the Weasels," Ira Nayman takes a close look at Tarantino's Use of Popular Culture and analyzes the functions it performs. Jonathan Beller's breakthrough article examines how the Radical Imagination has defined successful American films. In combining reviews of Syd Field's four books and an interview with Field himself, Jim Fragale suggests "How to Write a Hit Movie." Tarantino's scripts for RESERVOIR DOGS and PULP FICTION are reviewed.

Summer 1995 -- Writing for Documentary Films

The most useful handbook available on writing for the expanding documentary market. Steve James and Frederick Marx discuss writing and directing HOOP DREAMS. Scriptwriter Geoffrey Ward (THE CIVIL WAR) is interviewed and discusses his screenwriting technique. Filmmaker Ken Burns (THE CIVIL WAR, BASEBALL) is interviewed about writing for documentary films. Ron Suppa discusses "Selling Your Screenplay: The Deals," laying out the specifics for Option, Development and Step Deals and illustrating why Net Profits mean no profits. Michael and Linda Woal analyze the film T-MEN and discuss writing for semi-documentary noir. Barry Hampe outlines a specific process to "Script Your Documentary." Barbara Roos goes into more detail to define a "Structure for Writing Documentary Films." Brian Sawyer and John Vourlis (StoryVision software) lay out a number of detailed structures for writing Interactive and CD-Rom scripts. Plus much more.


Spring 1995 -- The Hollywood Industry

Paul Mazursky discusses his writing and filmmaking career. Three of his scripts (DOWN AND OUT IN BEVERLY HILLS, HARRY AND TONTO and ENEMIES, A LOVE STORY) are reviewed. Two of Mazursky's close collaborators, Leon Capetanos and Roger Simon are interviewed. Ron Suppa discusses the business of Writing for Independent Production. In his excellent article "Updated Noir," Terrence Ross compares the scripts for DOUBLE INDEMNITY and ONE FALSE MOVE and suggests how writing for film noir has changed over time. Ira Nayman surveys the sad state of Hollywood comedic writing in "Trends in Hollywood Screen Comedy" and suggests that postmodernism and genre parodies are increasingly dominating Hollywood comedy. William Pace outlines strategies for "Writing Low Budget Films" in his detailed examination of Tarantino's script for RESERVOIR DOGS. Francisco Menendez relays a specific exercise to make your writing more cinematic. And much more.


Fall 1994 -- Women in Screenwriting

Academy Award nominated writer Naomi Foner discusses characterization, the craft of writing and working in Hollywood as a female writer. Her screenplay for RUNNING ON EMPTY is reviewed. Alexis Krasilovsky discusses the art of adaptation with special focus on the use of myths and fairy tales. In her article, "Of Spinners and Screenplays," Krasilovsky suggests how writers can tap into the woman's mythical journey. Cari Beauchamp's article discusses the screenwriting of Frances Marion and the other early writers of Hollywood. Ron Suppa explains "How to Find an Agent," interest them in your work, and pick the agent right for you. How can you break writer's block and start that new screenplay? Break out of the Three Act Structure. Mary Dalton provides a detailed review of Julie Dash's script for DAUGHTERS OF THE DUST. Male or female protagonist? John Hill outlines the realistic choices for the spec-screenwriter in "Sex, Lives and Feature Film." Plus much more including five more articles.


Home | Online Articles | Software | Order Now! | Editorial