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  <title><![CDATA[How to Write a Selling Screenplay]]></title>
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  <description><![CDATA[Christopher Keane has spent 20 years in the business, learning the truths--and the tricks--of writing a selling screenplay. In <em>How to Write a Selling Screenplay,</em> he takes writers through the entire process, from developing a story to finding the best agent. Using an annotated version of an often-optioned screenplay of his own, and citing examples from movies ranging from <em>Casablanca</em> and <em>Lethal Weapon</em> to <em>Sling Blade</em> and <em>The English Patient,</em> he discusses how to create three-dimensional characters, find a compelling story, build an airtight plot structure, fine-tune dialogue, and much more. Keane's tips on the difference between writing for film and television, as well as his advice on dealing with Hollywood movers and shakers, make this an essential companion for people writing their first--or their fortieth--screenplay. ]]></description>
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    <body><![CDATA[I suggest reading this twice, because the first time it really just kicks you! Kicks up all of the dust in your mind, including creative and you have the perseption of being more confused than when you began. This is not the case the second time around.  I could not find an audiobook for re-reading ...<a href="http://www.goodreads.com/review/show/27473998">more...</a>]]></body>
    
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    <![CDATA[Christopher Keane has spent 20 years in the business, learning the truths--and the tricks--of writing a selling screenplay. In <em>How to Write a Selling Screenplay,</em> he takes writers through the entire process, from developing a story to finding the best agent. Using an annotated version of an often-optioned screenplay of his own, and citing examples from movies ranging from <em>Casablanca</em> and <em>Lethal Weapon</em> to <em>Sling Blade</em> and <em>The English Patient,</em> he discusses how to create three-dimensional characters, find a compelling story, build an airtight plot structure, fine-tune dialogue, and much more. Keane's tips on the difference between writing for film and television, as well as his advice on dealing with Hollywood movers and shakers, make this an essential companion for people writing their first--or their fortieth--screenplay. ]]>
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    <body><![CDATA[I've read several of these types of books, this one is the best by far. ]]></body>
    
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