An independent television screenwriter gives practical suggestions on writing and becoming a professional screenwriter. (PD)

Surveyed screenwriters about preparation, entry, present survival, future prospects, and "words of advice to graduating students about how to assault the gates of Hollywood." (PD)

Instructs writing students on how to verbally present their ideas. Points out that success in screenwriting depends not only on how well scripts are written but also how well screenwriters sell themselves and their scripts. Adds comments for instructors who want to teach pitching as part of a scriptwriting course. (PD)

Suggests a number of helpful resources, including textbooks, published and unpublished screenplays, contemporary critical writing, screenplay competitions, contact with industry professionals, and software programs for the screenwriter. (PD)

Explains structure and its relevance for both the practice and teaching of screenwriting. (PD)

Describes a production-oriented course designed to give students experience in writing for film and knowledge of screenwriting techniques and film planning activities. (PD)

Defines and analyzes the ideological conditions which motivate a writer to conclude a screenplay with an open ending. Questions whether screenwriting instructors in the 1990s should encourage their students to write nonclassical Hollywood cinema endings. (KEH)

Argues that contemporary screenwriters have much to learn from journalism and from theater, especially in the move away from the linearity of the high-concept film to a richer, more complex screen story. Examines the writing skills and techniques of journalist and playwrights in developing both foreground and background stories. (KEH)