Syd Field is offering courses on screenwriting, and his wikipaedia entry refers to him as a guru, but I don't know how good he really is. Does anyone know?
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Who is Syd Field?
- Thread starter Aspiring Mogul
- Start date
I have a couple of his books.
http://www.amazon.com/s/ref=nb_sb_s...ield-keywords=syd+field&sprefix=Syd+f,aps,292
http://www.amazon.com/s/ref=nb_sb_s...ield-keywords=syd+field&sprefix=Syd+f,aps,292
His books can be very helpful, although he seems to be sticking to the ancient (litary speaking: Aritoteles already wrote about it over 2000 years ago) three-act-structure, which isn't exactly how great films are structured... 
I guess he's one of the most famous writers writing about scenarios.
I have the screenwriter's handbook: very insightful book.
My previous comment about the 3 act structure is a bit teasing
He has very great things to say about character development, showing character by actions and about building a story.
(Oh oh, this is my 600th post)
I guess he's one of the most famous writers writing about scenarios.
I have the screenwriter's handbook: very insightful book.
My previous comment about the 3 act structure is a bit teasing
He has very great things to say about character development, showing character by actions and about building a story.
(Oh oh, this is my 600th post)
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Thanks for your input, both of you. WalterB, if you don't like the 3-act structure, what would you propose?
Many great films have broken the 3-act structure. Memento? Pulp Fiction? Eternal Sunshine of the Spotless Mind?
At least his classes are not crazy bucks.
Prices:
One Class - $79
Two Classes - $145
Three Classes - $195
All Four Classes - $245
I have seen some script 'gurus' charge very big bucks for classes.
If you look him up on IMDB his writing credits are minimal.
http://www.imdb.com/name/nm0276055/?ref_=fn_al_nm_1
My advice - save your money, read as many pro scripts as you can and the free:
How to Write Great Dialogue
http://reelauthors.com/script-analysis-coverage/how-to-write-great-dialogue.php
How to Create Great Characters
http://reelauthors.com/script-analysis-coverage/how-to-create-great-characters.php
Keep Descriptions Brief and Tight
http://reelauthors.com/script-analysis-coverage/keep-descriptions-brief-and-tight.php
What makes a great story?
The Austin Film Festival asked this question to Greg Beal, Director of the Academy Nicholl Fellowships in Screenwriting; Franklin Leonard, Founder of The Black List; and AFF Screenplay Competition Director Matt Dy.
And everything here:
Pro screenwriter's John August's website
http://johnaugust.com/
Prices:
One Class - $79
Two Classes - $145
Three Classes - $195
All Four Classes - $245
I have seen some script 'gurus' charge very big bucks for classes.
If you look him up on IMDB his writing credits are minimal.
http://www.imdb.com/name/nm0276055/?ref_=fn_al_nm_1
My advice - save your money, read as many pro scripts as you can and the free:
How to Write Great Dialogue
http://reelauthors.com/script-analysis-coverage/how-to-write-great-dialogue.php
How to Create Great Characters
http://reelauthors.com/script-analysis-coverage/how-to-create-great-characters.php
Keep Descriptions Brief and Tight
http://reelauthors.com/script-analysis-coverage/keep-descriptions-brief-and-tight.php
What makes a great story?
The Austin Film Festival asked this question to Greg Beal, Director of the Academy Nicholl Fellowships in Screenwriting; Franklin Leonard, Founder of The Black List; and AFF Screenplay Competition Director Matt Dy.
And everything here:
Pro screenwriter's John August's website
http://johnaugust.com/
I'm not a fan of non-linear, and Godfather 2 and Kill Bill attempts seem pretty awkward.
Syd Field's prices are very reasonable.
Syd Field's prices are very reasonable.
My ideas were good but my scriptwriting was mediocre at best until 2004 when I started reading and studying screenwriting techniques (3 act with plot points and character arcs, etc.) from Syd Field's videos and books... Also recommend Robert McKee's STORY. Read from as many sources as possible. BUT. Most important -- YOU must write, rewrite and write a lot more... daily. Make it a routine/daily thing.
It's best to take classes with him instead of reading his books.
I learned a lot from him with one on one questions and find he is very knowledgable. He gets paid to teach screen writing all over the world. I took a class with him in Los Angeles. He was on a flight the night of the last session to Egypt.
I learned a lot from him with one on one questions and find he is very knowledgable. He gets paid to teach screen writing all over the world. I took a class with him in Los Angeles. He was on a flight the night of the last session to Egypt.
Hilarious how a failed screenwriter can become wealthy teaching untalented people to succeed in a area he has had almost no success in.
This kind of hustle is strictly for starry-eyed amateurs. Can anyone name one screenwriter of note who has taken these classes? Most industry people I know make contempteous jokes about them.
This kind of hustle is strictly for starry-eyed amateurs. Can anyone name one screenwriter of note who has taken these classes? Most industry people I know make contempteous jokes about them.
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Films should be able to jump around, and be a bit messy. It shouldn't be a rule. I've read many filmmaking and screenplay writing books that say:
"To make a good film, you must follow the 3 act structure. In Act 1, you introduce the characters, and establish who is the antagonist and protagonist. Then you introduce the problem, and the main setting. In Act 2, the protagonist struggles against the antagonist. He gets help from the supporting characters. In Act 3, the character completes his goal. The problem is resolved."
There are good films that don't do that.
Pulp Fiction
Eternal Sunshine of the Spotless Mind
Atonement
Memento
Mulholland Drive
Rashomon
Inception
Upstream Color
The Social Network
Citizen Kane
Magnolia
The Diving Bell and the Butterfly
Once Upon A Time in America
21 Grams
The Thin Red Line
8 1/2
Annie Hall
City of God
Traffic
The Usual Suspects
Adaptation
The Constant Gardener
The 3-act-structure seems to be too 'vague'.
I'm not talking about non-lineair structures, it's just that when you really think in 3 acts with 2 turningpoints the second act easily loses tension. In a lot of great movies the 2nd act has multiple 'turning points'/acts that build up to 'total despair' and from that to renewed motivation and another failed attempt before the 3rd act starts.
Just calling it 3-act-structure over simplifies things.
Besides all this 'smart-ass talk' from me: I still think Syd Field has a lot to offer anyone who wants to be a better screenwriter.
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If you took the time to Google Syd, you will read on Wikipedia that he was the series writer of National Geographics specials, Jacques Cousteau specials, and a few others as well as a script consultant to some of the major Hollywood studios.
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BTW, Citizen Kane and Rashomon are good examples of the non-linear style, but they're flashbacks. Godfather 2, however, did NOT involve flashbacks, so it was as effective, at least to me.
Hero's Journey can be done via the 3-part structure.
Hero's Journey can be done via the 3-part structure.
A lot of screenwriting books (including Syd Field) cover more or less the same version of a traditional 3-act structure. You show the protagonist's "before" state (Act 1), an opposing force (antagonist) enters, creating a conflict between protagonist and antagonist (Act 2), the results of which changes the protagonist in a meaningful way or the "after" state (Act 3)
And it works for a lot of stories. Not ALL, but a lot. At the very least, if you're relatively inexperienced, it's a good place to start.
I found Pixar's storytelling guideline sums up the 3-acts in the most succinct way (act breaks are mine):
(ACT 1): Once upon a time there was ___. Every day, ___.
(ACT 2): Then one day ___. Because of that, ___. Because of that, ___.
(ACT 3): Until finally ___.
Again a bit formulaic but a decent place to start. And again plenty of good to great films are a straightforward 3 act structure.
Even with more non-linear stories, you can outline it as a 3-act story first before taking it apart and rearranging it.
And it works for a lot of stories. Not ALL, but a lot. At the very least, if you're relatively inexperienced, it's a good place to start.
I found Pixar's storytelling guideline sums up the 3-acts in the most succinct way (act breaks are mine):
(ACT 1): Once upon a time there was ___. Every day, ___.
(ACT 2): Then one day ___. Because of that, ___. Because of that, ___.
(ACT 3): Until finally ___.
Again a bit formulaic but a decent place to start. And again plenty of good to great films are a straightforward 3 act structure.
Even with more non-linear stories, you can outline it as a 3-act story first before taking it apart and rearranging it.
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There's a difference between "knowing" and "teaching".
How many of us have had college level professors that were smart people, had years of field experience, obviously knowledgeable, but couldn't actually teach the material fer sh!t?
Lotta blabbin' does NOT equal a lot of useful communication.
Frankly, across most professions many of the top executives, administrators, and experts do not go on to be top teachers of their field of expertise.
Most teaching positions are populated by people who can effectively communicate what their students came to learn.
How many of us have had college level professors that were smart people, had years of field experience, obviously knowledgeable, but couldn't actually teach the material fer sh!t?
Lotta blabbin' does NOT equal a lot of useful communication.
Frankly, across most professions many of the top executives, administrators, and experts do not go on to be top teachers of their field of expertise.
Most teaching positions are populated by people who can effectively communicate what their students came to learn.