Zen and the Art of Screenwriting: Insights and Interviews

by William Froug

This unusual screenwriting book is a tapestry of fresh, insightful essays and in-depth interviews with top screenwriters. The essays cover such topics as avoiding the obvious, the birth of ideas, the process of rewriting, dealing with writer's block, creativity and spontaneity, handling rejection, breaking the screenwriting 'rules', and episodic forms.

Genres: Writing, Nonfiction, Film

332 pages, Paperback

First published December 1, 1996

Reviews

[Emilie · Rating 4 out of 5]

Loved the interviews. Froug is practical and honest.

[Jon Arnold · Rating 4 out of 5]

A refreshingly different approach to ‘how to’ books from Froug. Whereas other books of this kind have tended to focus on how to structure stories (the likes of Joseph Campbell and Robert McKee for instance) Froug goes almost entirely the other way; emphasising that the story should come first ahead of any fashionable structure. After the story has been finished, then any necessary structure can be imposed. That’s almost certainly the point of the title, particularly when juxtaposed with the definition of Zen he gives up front ‘unlocking the power of the human mind’. He sees it as unlocking the potential of screenwriters and storytellers.

Interspersed with Froug’s practical guidance are interviews with screenwriters, ranging from successes such as Larry Gelbart, Frank Darabont and Merchant-Ivory screenwriter Ruth Prawer Jhabvala to those whose experience of the movie industry has been far less kind. These play as fireside chats between friends and peers – whilst the matey tone might be offputting it allows Froug to amplify points he’s made by providing practical, unpatronising examples of his advice.

Whilst the focus is obviously on writing and constructing screenplays (and even marketing them, though given this book’s nearly 20 years old it should be borne in mind that technology’s changed the game a little) there’s plenty of solid storytelling advice for any writer here. The effect is to try and provide the budding writer with confidence to go ahead and actually write, with eyes open as to what a writing career might entail. Froug does not pose as a guru but as a helpful advisor. As a result this is a far better place to start looking for practical advice than those books concentrating on structure and plot beats to hit.

[Jay Storey · Rating 3 out of 5]

One of the first books I’ve read on screenwriting. I didn’t really feel like it actually taught me a lot about screenwriting, though to be fair, one of Froug’s key points is that the best way to learn screenwriting is by doing it. The most enlightening advice he gives is in the final few pages, where he suggests what to look for when you’re watching (and studying) a film. It was interesting reading about how some of his interviewees got into the business, and learning something about their writing process.

[Olivia · Rating 4 out of 5]

Interesting peak behind the curtain, if not a little outdated. Some the advice no longer seems relevant. Wish there was more diversity, 8 / 10 people interviewed were men, and there was only one POC. No queer rep. But I suppose I can't expect much from a book published in 1996.

[ناصر سليم]

۱۴۰۲/۵/۲۹
این درس اول هر فیلمنامه نویس موفق است فیلمنامه نویس باید از فیلمنامه خودش خوشش بیاید.

همدلی با واکنش مخاطب بخش بسیار مهمی در روند آموزش فیلمنامه‌نویسی است

[Mark · Rating 3 out of 5]

... because it doesn't give you some trite beginning/middle/end formula, because it doesn't make writing seem like some management exercise, and because it basically jabbers on without giving you any easy answers, I am reading this.

[John Devlin · Rating 2 out of 5]

Wiity analysis, told conversationally, of writing in Hollywood.