MARC Record from marc_columbia

LEADER: 02108fam a22003374a 4500
001 2524321
005 20221012184836.0
008 991214s2000 nyu b 001 0 eng
010 $a 99087771
020 $a0823084191
035 $a(OCoLC)42952435
035 $a(OCoLC)ocm42952435
035 $9AQJ7107CU
035 $a(NNC)2524321
035 $a2524321
040 $aDLC$cDLC$dNNC$dOrLoB-B
042 $apcc
050 00 $aPN1996$b.R93 2000
082 00 $a808.2/3$221
100 1 $aRyan, James$q(James Edward)$0http://id.loc.gov/authorities/names/n99837436
245 10 $aScreenwriting from the heart :$bThe technique of the character-driven screenplay /$cby James Ryan.
260 $aNew York :$bBillboard Books,$c2000.
263 $a0002
300 $a186 pages ;$c23 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references and index.
505 00 $gPt. 1.$tThe Character-Driven Approach.$gCh. 1.$tDefining the Character-Driven Screenplay.$gCh. 2.$tHow to Write from the Inside Out.$gCh. 3.$tContingent Causation: Accumulation Creates Impact.$gCh. 4.$tCharacter or Story: Which Comes First?$gCh. 5.$tSubstance, Form, and Technique.$gCh. 6.$tA Movie: Not Just a Story in Pictures.$gCh. 7.$tThe Picture: The Power and the Limitations.$gCh. 8.$tSound: How It Can Carry the Story --$gPt. 2.$tFinding Your Structure.$gCh. 9.$tDramatic Structure.$gCh. 10.$tHow and Why We Use Acts in a Screenplay.$gCh. 11.$tThe One-Act Form: Evoking Inescapability.$gCh. 12.$tThe Two-Act Form: The Open-Ended Resolution.$gCh. 13.$tThe Three-Act Structure: Order Is Restored --$gPt. 3.$tCrafting Your Script: Step by Step.$gStep 1.$tFinding the Story.$gStep 2.$tThe Pitch.$gStep 3.$tThe Free-Write.$gStep 4.$tThe Outline.$gStep 5.$tHow to Create a Great Scene.$gStep 6.$tHow to Expand and Grow as a Screenwriter.
650 0 $aMotion picture authorship.$0http://id.loc.gov/authorities/subjects/sh85088030
650 0 $aCharacters and characteristics in literature.$0http://id.loc.gov/authorities/subjects/sh85022624
852 00 $bglx$hPN1996$i.R93 2000