By Michael Tierno
An insightful how-to consultant for writing screenplays that makes use of Aristotle's nice paintings as a guide.
Long thought of the bible for storytellers, Aristotle's Poetics is a fixture of school classes on every little thing from fiction writing to dramatic concept. Now Michael Tierno exhibits how this nice paintings could be a useful source to screenwriters or a person attracted to learning plot constitution. In rigorously geared up chapters, Tierno breaks down the basics of screenwriting, highlighting specific elements of Aristotle's paintings. Then, utilizing examples from the superior videos ever made, he demonstrates tips to practice those historical insights to modern day screenwriting. This uncomplicated advisor covers a large number of themes, from plotting and subplotting to discussion and dramatic cohesion. Writing in a hugely readable, casual tone, Tierno makes Aristotle's enormous paintings available to newcomers and professionals alike in parts akin to screenwriting, movie conception, fiction, and playwriting.
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Additional info for Aristotle’s Poetics for Screenwriters - Storytelling Secrets From the Greatest Mind in Western Civilization
F_~ is a secret ingredient to dramatic story that the Poetics teaches us to use, enabling the audience to see Jife imitated through the life of a hero, who is morally compromised in 71 Michael Tierno Aristotle's Poetícs tor Screenvvriters sorne way. Because Gladiator used this technique so effec- Maximus's actions, as we have seen, are inherendy "right" tively, it won Best Picture at the 2001 Academy Awards, and "wrong" at the same time. That the gladiators he must despitebeing very gory-a decidedly unusual vote by the slaughter in self-defense aren't al!
Yo';wo;:;¡t~regret it. ia,cts~QuldbesoJ,[0rrt~d. ,"'-'-" them shaU be fiUed with horrQ!... and at the incideizts ... - ... • -. , listen,ers should be moved by it, just as they would be . , What better wa~, , then, to test whether your sereenplay is going to do what you want it to do than toutter your ACTIüN-IDEA to people andsee what kind ofteaction it gets? Dramatic story is first and foremost an oratorical art; the ineident~ hay,,,. ul1cd good to the ear. rnind) if they' ar~'ioi~i to e;:~ . -· .
In (;[¿di~tor, in the and tJ,>e like), or to exaggúate or minitnize things. However, language can be tricky. If ¡¡ctions speak louder than words, they can also speak better: scene where Maximus and Lucilla flirt in the garden, -Ve sense an intense unstated sexual undercurrent to theír The only dilferenceis that in,ac§on the elfe~t has words. But their dialog is not 'Ion the nose," it's what's to be,produced without~-"planatioh;whereas with the going on insidetheir minds that's intriguingto uso What's spoken word it has to beproduced by the speaker, and not said, (jr the,¡nner thoughts of the characters, is often resuIt •from his language.
Aristotle’s Poetics for Screenwriters - Storytelling Secrets From the Greatest Mind in Western Civilization by Michael Tierno