Movies Books

Seriously. This lady apparently never threw away ANYTHING. She didn't even throw away the "Glorious Aryan Motherhood" medal she got from the Nazis in 1938 in an effort to entice her back to the Third Reich, though she was much offended by the "award" and described her displeasure in pithy terms. Conversely, she proudly told her daughter, Maria Riva, that whereas most daughters inherit medals from their fathers, Maria would inherit medals from her mother, and these decorations (including the U.S. Medal of Freedom and two degrees of the French Legion of Honor) are displayed in one of the book's many color photographs.



This splendid book is a Marlene Dietrich museum all by its lonesome. Gorgeous photographs from every stage of her career (including some very sexy and risque ones displaying her famous legs to best advantage!) are coupled with a visual catalogue of the most interesting of her clothing and possessions, including her famous good-luck rag doll, which appeared in several of her movies, and a pair of matched pistols she received from General George Patton (with whom she is rumored to have had an affair) during World War II.



Speaking of which, Marlene's WWII service, one of the great defining experiences of her life, gets full attention in this book, with many very striking photos of herself at the front. My favorite pictures from this period show her watching a training drop by the 82nd Airborne Division, the unit closest to her heart, in Holland in early 1945.



Marlene, of course, is famed as one of the great style-setters of the 20th century, and we see many, many photos of her outfits and accessories, both as display items and when she was wearing them.



Can I use the word "splendid" twice in one review? :) Because that is exactly what this book is. It's a bargain at any price you care to name, and one of the best retrospectives on any great film star I've ever seen.

Here are images we've never seen before. The ones of her life on the front in W.W. II are amazing. Brave woman fighting for the US soldiers. And the picture of her in the bathtub is worth the book alone. The private dresses, her lingerie, her jewels -- these are amazing.

A delicacy! The best book of photographs I have seen on Dietrich and a compendium of beauty, not only hers but all that was created through and with her. A must have book.

This is a dream of a book. Full of glorious photos and facts. I highly reccommend this to all Dietrich and film fans. All public figures should be the subject of a book like this.

If you were a fan of Dietrich and were allowed to own only ONE book about this woman, then this should be the book to own. To reiterate another reviewer's thought -- it is EXQUISITE.

we need to learn how to work with them and how to make them work, this is in part what Colleen tells us here. Very nice book indeed and not the usual one. She doen't promise to become wealty by getting published, yet between the lines I think there is a hope for everyone of us becoming richer in the spirit. And this is why many of us write: to live a fuller life by reflecting on it. This book helps us in both ways - to write for the entertinment of others and for the deepening of one's thoughts - and I'm eagerly waiting for a second and third book with more entertaining tips and insight! Thak you Colleen.

With Movies In The Mind: How To Build A Short Story, Colleen Rae provides the aspiring writer with compendium of sound advice, techniques, and strategies for writing plausible, believable, resonating fiction. Each informative chapter is a gem of sound, practical, illustrative, and occasionally inspiring instruction and includes: Entering The Storymaker's Realm; Fiction's Building Blocks; Participatory Art; Digging The Clay; Whose Story Is It Anyway?; Unlocking Your Story; How To Birth A Story; and There's Always A Critic. Very highly recommended for anyone seeking to improve the quality of their fiction, Movies In The Mind is further enhanced with a section of Exercise Pages, a Reading List; and a user-friendly index.

This book is great, will really rev up your writing, and I'm not the only one who says so. The February 2001 issue of Wisconsin Bookwatch has the review : With "Movies In The Mind: How To Build A Short Story", Colleen Rae provides the aspiring writer with compendium of sound advice, techniques, and strategies for writing plausible, believable, resonating fiction. Each informative chapter is a gem of sound, practical, illustrative, and occasionally inspiring instruction and includes: Entering The Storymaker's Realm; Fiction's Building Blocks; Participatory Art; Digging The Clay; Whose Story Is It Anyway?; Unlocking Your Story; How To Birth A Story; and There's Always A Critic. Very highly recommended for anyone seeking to improve the quality of their fiction," Movies In The Mind" is further enhanced with a section of Exercise Pages, a Reading List; and a user-friendly index.

Colleen Mariah Rae's book is a unique approach to learning the art of writing fiction. It's strictly an inside job, and Rae helps you find answers to your fiction writing problems within yourself. Her emphasis on imagery and detail is presented in a straight forward manner that sheds new light on the subject. But her advice on developing a trait continuum for your characters is help of the most valuable kind. I look forward to seeing more books from her in this series.

John M. Whalen, Journalist/Freelance Writer

Before I finished the first chapter of this book, I saw a dramatic difference in my writing. If you want to learn how to connect with the mysterious well where all of our stories come from, if you want to understand what really grabs your reader and connects him/her with your story, read this book! It's not just for short story writers. It's for writers. Period. Look through Colleen Mariah Rae's eyes as you devour this book, and you'll see your creative world in a whole new light!

Sent Murder in the Movies to a friend. Bob Skillen wrote: "I loved Esther Lutrell's book, Thank You !!!!!

This is a well-plotted and skillfully-paced novel from someone who knows the movie business from the inside. Luttrell, a former Hollywood executive, sets her protagonist in the middle of a murder, and then keeps us guessing right to the last few pages. Her protagonist is easy to like, and much more a real person than most mystery heroes or heroines. Katlin Wallace makes mistakes, gets thumped, bleeds, damages her wardrobe, and still manages to find the evildoer in the nick of time. Satisfying and fun, a good book to curl up with on a rainy day. Recommended.

Normally the nose is in some tech manual or writing one. Seldom is there a book that provides an easy read with interest, detail, and colorful characters. Live in Florida travel thru and to LA frequently. With little knowledge of either location the reader can relate to Katlin Wallace as she travels about. The characters are honest people you meet through a life time of living. Enjoyable read for the logical thinker.

I recognized accurate detail after detail in this pageturner mystery set in the Hollywood, California area. I felt like I was personally there as the storyline carried me through twists and turns of scenery as well as plot lines. I was fooled by the surprise ending -- and can highly recommend this as an entertaining read.

Katlin Wallace knows the film business and the highways and delis of the Southern California movie-metroplex. Her story is told with such vibrancy and intimacy that I felt like the author plopped me into the passenger seats of Kate's rental cars to experience with her this blur of action and noshing. I can't wait for Kate's next adventure. This is a solid and witty romp of a book. My ultimate compliment to Ms. Luttrell: I wish I had written it.

i thought this book was great and also pretty sad at the end but i enjoyed it.from the first time i started reading it i could'nt put it down.

Vada is eleven years old and her mother died when she was born, and Vada thinks that it is her fault her mohter died. Her dad owns a funeral home and thats where Vada loves. Her best friend Thomas J. is allergic to everything. Thomas J. and Vada are always doing something together, like riding bikes, or playing at the lake. One day this lady named Shelly shows up at Vadas house in a camper wanting a job at the funeral home and be the person that when someone dies she puts on the make-up and does their hair. She gets the job. Vada likes her and everything is going great. SO one day Vada and Thomas J. ran into their teacher, Mr. Bixler Vada wants to marry him, and he had told them that he was going to be having a writting class in the summer, and Vada wants to go. So she has to try to find money and her dad won't give it to her so she takes it from Shelly. Then Shelly and her dad start dating. Then one day her dad said they were going to get married. So now Vada hates them both. So she tells Thomas J. and they go to the lake and they find a bee hive and they try to hit it with rocks, THomas J. collects them, they finally hit it and bees go everywhere.

Vada Sultenfuss is a typical 11 year old girl who has to learn to face her fears and get on with lfe even when bad things happen. She lives in a funeral parlor and has a boy (Thomas J.) for a best friend. Her mother is dead and she only has a father. Living in a funeral parlor for all her life, Vada keeps thinking she has cancer and is going to die, and her father could care less about this issue. One day Shelly comes in and ends up working for Vada's dad. Their marriage takes Vada by surprise, and when her best friend gets stung by bees she learns to cope with Shelly even though she doesn't have her best friend to always ride bikes and play with her anymore.

Vada is 11 years old and she has never met her mother and her dad is a caretaker and her bestfriend Thomas J never wants to come into the house because it is a funeral parlor. Thomas J and Vada are always riding around town on their bikes and Vada thinks that she has cancer in her throat. Though everytime she goes to see the doctor about it he says she is just fine. All the time Thomas J and Vada go sit up in a tree and one day they were going to the tree and saw a bee hive. Thomas J wanted it because he had a wasps hive and he wanted a bee hive to go with it. They were throwing rocks at it and knocked it down and bees started swarming and they ran and jumped in the lake, but before they did Vada realized she lost her mood ring and the next day Thomas J went back to where Vada had lost her ring and he got it, but when he went back the bees attacked him and of course Thomas J is allergic to everything he got stung and died from it. After Thomas J's funeral Thomas's mother went to Vada's house and gave her the ring. And though Vada was sad about Thomas J she just pretended that he was at summer camp or on vacation. Vada new that Thomas J would be taken care of because her mother would take care of him. She new that she would see him again.

I really enjoyed reading this book about my favourtie movie of all time. If you loved the movie My Girl I would deffenently recomend this book because it follows the movie so well. Pick it up today you'll be glad you did because it is such a marvelous book.

Paul Scott's following is small, but Loyal. He is a fantastic writer. The Raj Quartet by far, is my favourite favourite series of books by him because of its complexity and such extraordinary characters. His charactres are so indepth, so well played out that the reader feels that he or she knows them thouroughly. Its a historical epic, very well written, and its absolutely a must read.

About 25 years ago I got a list of the best 100 books of all time, and found "The Raj Quartet" by Paul Scott listed. I started at the beginning with "The Jewel in the Crown" and got bogged down. Coincidentally, PBS started its Masterpiece Theatre version. I watched a few of the episodes (actually all of them, eventually) and got back to reading. What I discovered was the best set of novels I've ever read, and each one an individual "jewel" as well. A pebble thrown, the towers of silence, and many other images stay with me, as well as the memory of Scott's beautiful writing and well-developed, complex characters, and the scope and importance of the story. If there wasn't so much else to read, I'd reread the whole set--sounds like a good retirement project some day.

My yardstick for excellent writing about a foreign culture is probably Paul Scott's "The Raj Quartet", which was the basis for the BBC TV series "The Jewel in the Crown". I think these four books are a real tour de force - he writes in several different voices throughout, but remains - I think - completely sensitive to the political and social complexities and subtleties of the situation in India towards the end of the British occupation. Very nuanced, extraordinarily sensitive writing.

It's not just the writing: the stories that unfold in this masterpiece will draw you in, grip you, and break your heart.

This book (or series of books) is so sprawling and intricate, like India itself, one might say, that it is impossible to "pin down", as it were, in a review like this. The thing to do, I think, is to cover the most salient aspects of the work separately. Otherwise, one will become lost, as many of the characters herein do. So, salient aspect numbers:

1.) History - This is the novelistic equivalent of Gibbon concerning the British Empire. It might even be called "The Decline and Fall of The British Empire." As a reviewer for the Sunday Times puts it, "A history student years from now should be able to say to his professor, `Yes, but what was it REALLY like in India in the last days of the Raj?' and be told, `Read these four books and you'll not only know, you'll understand...' " The "understand" part is especially significant in that these books will have you totally spellbound by Scott's deft character portrayal and psychological insight. It is no exaggeration to say that one feels one has lived in India from 1939-1947 after having emerged from the nearly two-thousand pages that comprise this work. But the deft character portrayal leads me to a more troublesome, salient point:

2.) Ronald Merrick-A host of characters populate this work, portrayed with deep sympathy herein. And yet, one can't help but feel, upon closing the pages, that the work might also be called, "Ronald Merrick: An in-depth Portrait of a Psychotic in India". It is a tribute to Paul Scott that we do not discover the depths of the....evil (Sorry, I can't think of another word that fully encompasses the character.) of Merrick until the tag end of the work. Yes, Hari Kumar is the other major character who, to a certain extent, offsets Merrick. But he fades into the background after his interrogation by Nigel Rowan with Lady Manners looking on in the second book, The Day of the Scorpion. Merrick, so to speak, stays on until the very bitter end. Not only does he stay on, but he lingers in the mind. What is he? What does he represent? The British Raj itself, as some would have it? Partly, I would say, but there is something about Scott's obsession with this fellow that refuses to be pigeonholed. It's all very eerie. By the end of the book, you won't be able to hear the word "Merrick" without a troubling frisson running through you. - He is not mad like, say, Susan Layton, who rather resembles a character from one of the Bronte novels. - His nature and the nature of his evil are complex. They defy reduction. So, I shan't venture on a futile quest to do so but rather come to salient point:

3.) The brooding fatalism that overhangs everything here. Of course, one knows before one picks the book up that the Brits in India are doomed. But, well, I'll just let Daphne Manners' quote from the first book, The Jewel in the Crown, give the reader notice of the feeling that permeates this work:

"We were sitting on the verandah. Oh, everything was there - the wicker chairs, the table with the tea tray on it, the scent of the flowers, the scent of India, the air of certainty, of perpetuity; but, as well, the odd sense of none of it happening at all because it had begun wrong and continued wrong, and so was already ended, and was wrong even in its ending, because its ending, for me, was unreal and remote, and yet total in its envelopment, as if it had already turned itself into a beginning. Such constant hope we suffer from!"

Salient points covered...except that the reader might do worse than to do as Perron does at the end and look up Philoctetes, not a futile quest by any means.

It has been too long since I read this book [probably 15 years ago] for me to offer an erudite and detailed analysis. But I do remember vividly that when I read it that the word "masterpiece" came repeatedly to my mind. In a league with Thackeray's "Vanity Fair" and Naipaul's "A House for Mr. Biswas". Find the time to read it; you won't regret it.

Most for-sale screenplays are just that -- screenplays. Emma Thompson, who wrote the screenplay for the delightful Jane Austen film "Sense and Sensibility," chose to include journal entries throughout the filming of the movie as well, in addition to the winning entry of a contest to see who could write the best letter from Fanny to Elinor.

There is wit in the descriptions and the photos, all well-captured. The journal entries are entertaining and a good look into the making of a movie. Although be forewarned -- because they dress like the characters of S&S, they do not talk like them. There is definitely some verbal crudeness in the book, men and women alike, but if you can overlook that (or are used to it) then this book will be a delightful read for any Jane Austen fan.

There are three separate parts to this fine volume; introduction, script and diaries. The producer of the film, Lindsay Doran, opens the door for us with her wonderful introduction. At age 13, she was determined that not only was "Jane Austen a very stupid writer," but also she would "never, never read one of her stupid books again."

Fortunately for the rest of the world, Ms. Doran changed her mind, and some twenty-five years after that first erroneous conclusion, has brought us this wonderfully witty, and extremely faithful film version of this first novel by Austen. As producer of the Kenneth Branagh/Emma Thompson film, DEAD AGAIN, she became acquainted with the woman who was not only a phenomenal actress, but also a gifted writer-one with a sense of humor and a strong romantic bent. These two qualities had proven to be the stumbling block over nearly ten years of searching for the right scriptwriter for Sense and Sensibility.

It took nearly seven years to come up with something close to a shooting script, sandwiched as it had to be between Thompson's many award-winning acting chores. Serendipity was obviously at work, however, and eventually, a budget was established, and casting accomplished.

Many of the actors Emma had envisioned in various roles had participated in a read-through the year prior to the filming; they were all in the film, in those same roles.

While the Dashwood ladies are all suitable beautiful, it is the men who are truly gorgeous. ("Repellently so," writes Ms. Thompson in the diary portion, referring to Hugh Grant. "He's much prettier than I am.") With his look-alike Richard Lumsden, they are the brothers Ferrar, Edward and Richard, with Greg Wise as the fickle Willoughby. Alan Rickman (be still my heart!) brings maturity and virility to the role of Colonel Brandon. The sets and costumes are sumptuous.

Interspersed with the actual shooting script and the diaries are some 50 photographs, 36 of them in luscious color. One script looks pretty much like another, but this one allows Ms. Thompson's wry wit to shine, especially in some of the non-spoken words. Of course, not every scene from the book could be included; the movie would have been more than six hours had they been. But the essentials are here, along with all the major characters. Providing testimony to just how perspicacious was the choice of writer is the number of awards garnered by Thompson for this, her first film script.

The diaries portion begin with a production meeting on January 15, 1995 and continue through July 9 of that year. A very small mention is made of Hugh Grant's visit to California, where he'd gone for his next film project after the completion of filming his scenes in England. A final two pages describes the 'location' houses chosen to represent those lived in by the families in the novel.

It may come as somewhat of a surprise to some readers to discover rather explicit language in the diaries. In addition to an apparent fascination with the alimentary process, our Emma has a bit of a potty-mouth, as do some of the gentleman involved, and their words are recorded, one presumes unhappily, all too accurately. They seem curiously jarring and out of place in a book otherwise devoted to the pristine words of Jane Austen.

Nevertheless, this is a lovely, hefty book; one which will bring the reader back to it time and again. There is always a new and enjoyable nugget to be mined from its various depths.

If you read Jane Austen's "Sense and Sensibility" before or after seeing the 1996 film version then I think it is pretty easy to conclude that Emma Thompson's Oscar for Best Screenplay adaptation was richly deserved. After writing and performing a series of short skits for British television, Thompson was approached by producer Lindsay Doran to write the screenplay. Thompson began by dramatizing every scene in the novel, which resulted in 300 hand written pages to be followed by 14 drafts as the 1811 novel was crafted into the final script. The result was a script that manages to be not only romantic and funny, but also romantic and funny in the best Austen sense of both words.

Be aware that this is the Original Script, not to be confused with the Shooting Script. This should be clear as soon as you beginning reading, because originally Thompson had the scene shifting back and forth between Mrs. Dashwood and Elinor/John and Fanny Dashwood (credit for this revision must go, I believe, to Film Editor Tim Squyres, who recut the scene so that we get all of one side and then the other instead of alternating back and forth as in the original script). Overall the strengths of Thompson's script are in two main directions. First, she manages to convey the scope of the novel in a two-hour screenplay, no mean task. Second, the little details she adds to Austen's story are simply marvelous. For example, her use of Shakespeare's Sonnet 116 ("Let me not the marriage of true minds"), which Marianne and Willoughby share to their great mutual delight and which Marianne repeats standing in the rain looking at Willoughby's new estate. In fact, Thompson revised the first scene to make it even better, having Willoughby misquote a key word in an elegant bit of foreshadowing. Thompson also makes one nice little change at the end. While Austen has Elinor bolt from the room to cry outside during the happy ending. Thompson creates a wonderful moment by having her stay in the room and having the rest of her family flee. There are not too many scenes where you are crying and laughing at the same time, but Thompson certainly created one (and has the added virtue of relying on herself as an actress to nail the performance as well). All of these are marvelous examples of playing to the strength of the cinema to bring Austen's novel to the screen.

But we get much more than just the screenplay in this volume, because Thompson includes excerpts from her diaries kept during both the writing of the screenplay and the actual production of the film. It would be nice if there was more insight into what she was thinking when writing the screenplay as I am always interested in how decisions were made and where inspiration comes from, but Thompson makes up for that with her little tales of working with director Ang Lee and the rest of the cast in making the film. Finally, in the Appendices, there is a very choice little treat, namely Imogen Stubbs' Prize-Winning Letter, written to Elinor from Lucy. Do not worry; by the time you read it you will understand why it is so hysterical. There is also a list of the fine homes and estates where "Sense and Sensibility" was filmed if you happen to be roaming around England and are interested in looking for such things.

I truly enjoyed this work by Emma Thompson. Not only is the screenplay included, with pictures, but also there are diary entries by Thompson that give insights into the making of the movie. If you loved this movie, you should read this book. I really enjoyed it.

The screenplay itself is a must-read for anyone wanting an education in bringing a well-loved story to life. Emma Thompson does an ingenius job of crafting scenes that are faithful to Austen's original while inventing more that add character development and plot intrigue. I especially like her diary, though. For those who wonder what to include in a memoir of an experience, this journal is a rich model of self-disclosure and humor. I heartily recommend it!

Wow, what a great book. I could not put it down. The information is really helpful. I recommend this book to anyone who is interested in learning about these speakers, motivational speaking or just wanting a great read.

Absolutely amazing! Far and away the most detailed and analytical explanation of superstar success in the field of motivation. Bring a pen and get ready to underline. This book is filled with great thoughts you will never want to forget. I can't recommend this book highly enough. The book is genius. Dr. Darryl Wheat, author of The Genius of Great Achievers

This book is a gem that is filled with ideas from many of THE BEST speakers in the world. What a great resource! It is my favorite book now for ideas on how to be more "impactful" in my message to the audience. This reminds me of one of my other classic favorites, Think and Grow Rich. I'm ordering another copy for a friend today!

I recently got back into the training field after a long absence and found that my skills were not only rusty, but perhaps had never been developed as much as they could have. I went searching for information and came across this book. It was the first of many books I purchased on the subject, and is by far the best. Other books had great detail on how to prepare a presentation, but were lacking on what it means to entertain and engage an audience. This book gives specific examples the types of things these speakers do to engage and entertain their audiences--and covers a wide range of styles, from Tony Robbins to Barbara DeAngelis, which I found especially useful because I can relate to some types more than others.

Michael Jefferys' style is easy to read, entertaining and well laid out. His range of speaker styles means that everyone will find someone they can relate to.

After finishing this book, I successfully applied what I learned to my training. In fact, I am now rereading much of it so that I can take this excellent information to a deeper level and further polish my skills.

I started speaking publicly when I was 16 but it wasn't until I purchased Success Secrets of The Motivational Superstars on March 18, 1997, that I increased my stakes as a speaker. This one book helped me develop a deeper appreciation and understanding for what speakers do.

THIS BOOK HAS IN DEPTH PERSONAL INTERVIEWS
Michael Jeffreys deserves a standing ovation for interviewing some of the speaking industries leading speakers. He covers in depth personal interviews with three of my mentors Mark Victor Hansen, Brian Tracy and Les Brown. He could have stopped there but he also includes Leo Buscaglia, Art Linkletter, Jack Canfield, Patricia Fripp and many, many more.

JEFFREYS BOOK TEACHES YOU HOW TO LEVERAGE THEIR EXPERIENCE
If you want to learn how to overcome obstacles and see the specific step by step formulas that some of the speakers apply you need this book like a car needs a steering wheel. You will be guided through such things as what to do when you blow it, identifying your unique differentiating factors, how to give your audience ideas they can put to use within 24 hours, the Walt Disney philosophy, Les Brown's number one quality and a few hundred other techniques, ideas and things to avoid.

IF YOU WERE MY STUDENT THIS WOULD BE REQUIRED READING!
Failing to apply the lessons you learn in this book could be disastrous to your speaking career. All that I have shared above only gives you a birds eye view of this wonderful book.

Jeff Kitchen's book is truly a "find." There are tons of books on writing, but so few of them focus on the most critical element to successful fiction writing: having a solid story.

Although primarily intended for screenwriters, Jeff's book is useful for anyone who is trying to structure a story. His discussion of dilemma is enough to get any author of fiction headed down the right path. Further, his coverage of the 36 dramatic situations has proven critical to my ability to add depth to my stories. These two concepts, plus his presentation of "sequence, proposition, plot" will help anyone, beginner or published author, create compelling fiction.

As a novice I found this groundbreaking to my education in film creation. Screenwriting is an art of word to visualization, and can be extremely complex when dealing with the human condition. With Jeff Kitchen's in depth however symplistic utilization, of dramatist' ideals of the past, melted with his own teachings, provide a compelling set of tools from which to work. It's as essential to a screenwriter as a hammer and chissel is to a sculpter.

I'm sitting in a room with the only light coming from my laptop.
I've just run into the same roadblock I have crashed into throughout my ten years of writing. It is familiar, but no less frightening.
In the scriptwriting process, this would be equivalent with the green flag at the Indy 500. It is the beginning of the adventure.
It is both exciting and scary. However, I am now in a much better place. I've been given a map. Just keep taking a left and you'll end up at the finish line.

Until I read "Writing a Great Movie: Four Advanced Tools for the Dramatist" I only knew how to punch the gas and hope for the best. That fearful moment of the unknown, and lack of preparation at the beginning of screenwriting is gone. It is still exciting, but no longer terrifying.

Why? This book has given me very simple and straight-forward tools to pre-plan, organize, evaluate, modify, and lay out a map to the end goal -- a dramatic script.

I have studied numerous books. I've taken several classes. This is the ONLY course of study that has solved my specific problem.
I have an idea ... but how do a work it before I sit down to write. In some cases this methodical preparation will tell you that story isn't there. Even more so, it will help work out the problems in advance, while giving you the confidence in the project/idea before you sit down to write.

I've done preparations in the past, but none have given me the confidence to know I've done the work and the story is there.
There is something terrible in sitting down to write -- getting 60 pages in and realizing "I have no idea where I'm going OR what avenue I'm taking to get there".

I offer this book at a cure to those that share this problem.
For me, this book and these tools offer a variety of solutions.
I'm focusing on this "lack of guidance" issue, because I image there are many people who share this problem. And because I've never found another course of study that solves this specific problem.

While I focused on the lack of direction issue, I should note that this book helps in every aspect of dramatic writing. It has helped in building stronger characters, better drama, and more. I utilize these tools with EVERY script I'm writing. And most importantly, the tools have NEVER failed me. I still may write a crappy script in concept, but it is because of the decisions I made rather than a lack of dramatic structure.

The only reason I would not endorse this book, is that I fear it will create a lot more competition in the script writing world.
I'll set my self-centered fear aside and suggest this script for anyone that is interested in writing.

Scott Schlichter

This is the best book on dramatic screenwriting I've come across. I've read most of the major screenwriting books in print and, though they all have their good points, Jeff's "Writing a Great Movie... " gets to the heart of what story is all about: drama. He presents four amazing tools that will whip your idea into a structurally solid story, if you are willing to do the work. Nobody said it would be easy but if you have the discipline to apply these techniques you'll find your work is 'touching' its audience in all the right places. Excellent book.

Question: When is a plot not a plot? When is a sequence not a sequence?

Answer: When a playwright provides a book on screenwriting that exploits dramatalurgical theories developed by a lawyer over 100 years ago.

Confused? Not as half as confused as you will be after you've read this book.

In fairness, the author, a classically trained playwright, sets forth some useful tools for dramatic storytelling. The tools were originally developed by William Thompson Price, a lawyer turned playwriting teacher, who founded a playwriting school in New York back in 1901.

For example, the book provides useful tools for developing and maintaining a true character dilemma, i.e. a character forced to chose between two equally unacceptable alternatives. The book also sets forth a useful technique for outlining a story that involves working backward from the end to create a cause-and-effect chain of story beats. Though originally developed for use with theatrical plays, these tools are equally helpful in developing screenplays, novels, and any other form of dramatic storytelling.

Unfortunately, the explanation of the tools is hopelessly complicated. "Plot" (with a capital P) means something different from "plot" (with a little p). The same is true for "Sequence" and "sequence". (Where was the editor and/or Editor in all this?)

The main problem here is that the author chose to retain the original terminology developed by Price. So we get "logical propositions", "formal syllogisms", "conditions of the action", etc. (What a shock that playwriting terminology developed by a lawyer over a hundred years ago would be confusing and antiquated today when applied to modern screenwriting.)

Those with an abundance of patience can dig through this book and find some useful techniques. Others should probably skip it.

P.S. The author might consider preparing a second edition of the book, which clarifies and simplifies the terminology (and which, even more importantly, changes that atrocious cover design!)

As a professional reviewer, I read a lot of books. Hands down this was one of the best books I have read in a long time. Bill Clem does a brilliant job of writing a book that reads like a movie, the plot and scenery so realistic that I had a hard time tearing myself away from the story when I had something to do. The great thing about it is the short chapters, where you can stop and come back and remember right where you were.

The main meat of the story is about an obsessed CEO who will go to any length to reach his goal, including murder, and exploiting his unsuspecting employees under the guise of a perfect job.

There was so much more to this story that kept me at the edge of the seat that I wish I could tell about, but it would simply give away too much. The character development is flawless and so is the dialogue in this non stop ride of a thriller. The science behind drug development is well presented and very interesting while the main heroine is as real to me as my best friend. Bliss dealt with some really bad people and the quest to catch them while engaging in an iron battle of wits.

I can't wait to read more of this author as this was an unbelievably engrossing book, something that will haunt me for a long time. I guarantee the ending will be even better than you can predict and the book will leave you hungry for more good reading. This story will leave any bookworm breathless and deeply satisfied!

Just finished Bliss and don't let the title fool you. There was no bliss in this book. The way this CEO conducts his clincal trials is way beyond anything conceivable. The Horror these poor unknowing people that work for the company indured is horrific. The writing is absolutely great. Every bit as good as some of Bills other books. I couldn't wait to turn the next page to see what was in store for all these great characters. It seems the good guys do win out (sometimes). I would love to see this made into a Movie!!!!!!!!

This was a book about antidepressants and how some people reacted to it being put into their drinking water. Would you believe this would happen? Not a chance but its written like a movie and you will finish it in 2 days.

Taking medicene has always been a problem but after reading Bliss, it is really scary. Great book! Keep them coming
Diane McK

Great book!!! Quick read. Makes me wonder how many prescriptions are filled, without accurate reporting of true side effects. Bill Clem has become one of my favorite author's.

The book tells you a lot of the backround of each car. My 19 months old son loves the book on top of the movie. Even my husband and I read the book already without him.... if you are a CARS collector you need that book.

I got this for my [...] who loves "Cars" and his cousin the same age who also is obsessed with this movie. It's a good book, a little old for the [...] range. But it'll be one to keep on the shelf and in good condition for years to come. I would consider this one a collector's item. Just not one you would read to them at bedtime. It's not that type of book. More "factual" - based on the characters of the movie.

A very colorful and informative book that's a pleasure to read over and over. I just wished it has more information about the other characters in the movie. But clearly, this book is made for kids.

Still, I enjoy the great pictures and endeared the characters closer to me.

This is a big, bright book all about your favorite characters from Disney's Cars movie.

Each page highlights an individual character with a "CAR FACTS" circle with the mechanical info for the car. Also included are pictures from the movie with a caption underneath describing the picture. For example "Dedicated Driver" shows McQueen talking to Mack with a caption telling how he gets his boss to the next race as fast as possible and how he is McQueen's one true friend.
We also get a "Tractor Tipping" page with a full page spread of a rather angry looking Frank, with a smaller caption of a terrified McQueen escaping Frank's blades!
The highlight is the centerfold 4 page foldout of the Speedway! We get a blip's view of the Speedway at night pre-race. Along the outside are captions of McQueen, the Piston Cup, Chicks and McQueen's pit crew.

Overall a beautifully presented book with all your little (or big) Cars fan could wish for!

The book is very colorful and gives loads of information on all the characters. My son loves the book!