Making a Good Script Great

by Linda Seger

Making a good script great is not just a matter of having a good idea. Nor is it a matter of just putting that good idea down on paper. In scriptwriting, it's not just the writing but also the rewriting that counts. Making a Good Script Great focuses on the rewriting process and offers specific methods to help you craft tighter, stronger, and more workable scripts.

While retaining all the valuable insights that have made the first edition one of the all-time most popular screenwriting books, this expanded, second edition adds new chapters that take you through the complete screenwriting process, from the first draft through the shooting draft.

If you're writing your first script, this book will help develop your skills for telling a compelling and dramatic story. If you're a veteran screenwriter, this book will articulate the skills you know intuitively And if you're currently stuck on a rewrite, this book will help you analyze and solve the problems and get your script back “on track.”

Genres: Writing, Nonfiction, Film, Reference, Crafts, Art, Language

242 pages, Paperback

First published January 1, 1987

About the author

Dr. Linda Seger has a Th.D. in Drama and Theology, and created her script consulting business based on her dissertation project about the elements needed to make a script work. She explored the integration of Drama and Spirituality during her five years in seminary. She holds three M.A. degrees: Drama from Northwestern University, Religion and the Arts from Pacific School of Religion, and Feminist Theology from Immaculate Heart College Center.
She has a broad religious background. She grew up Lutheran and did several years of spiritual seeking in her 20s. She became a Born-Again Christian and then joined the Quakers (Society of Friends) and is a member of The Colorado Springs Friends Meeting. Throughout the years, she has meditated at a Zen Buddhist center, attended New Age conferences, has done the spiritual exercises of Saint Ignacious, and has read and taken classes in the religions of the world.
Dr. Seger's thoughts about how spirituality influences her work:

“Many readers are surprised and even confused when they see I’m the most prolific writer in the area of screenwriting, an international screenwriting consultant and a screenwriting teacher. Yet, I also do theology/spiritual books. Some of this comes from having an M.A. In Drama, 2 M.A.s in theology and a ThD in Theology and Drama. They seem to be separate, but they are actually integrated.

Drama shines a light on the human condition. It explores the conflicts, struggles, doubts, uncertainties, and possibilities for transformation and redemption. Even secular drama deals with hope and goodness and the struggle for authenticity and love.

When I consult on scripts, I am trying to help the writer reach deeper into the truth about who we are as humans and what are our possibilities. When I write books on spirituality, I am doing the same thing – digging deeply into our experiences and struggles, and then shining the light of Scripture and theology on making some sense out of what we see and feel. I am trying to get at The Truth and to dig deep into our experiences. So, I never look for easy answers, and I don’t try to pigeonhole either our stories or our spirituality.”

Reviews

[Karla Pravia · Rating 5 out of 5]

Si quieres contar una historia para el cine y tienes duda de cómo revisar tu idea este es el mejor libro que he podido leer sobre guionismo.

No se queda solo en repasar conceptos sino que Linda Seger explica con ejemplos claros las fallas y aciertos de algunos guiones y que puede servir de mucha luz para quienes sueñan escribir para la gran o pequeña pantalla.

[Joseph Carrabis · Rating 5 out of 5]

Linda Seger's Making a Good Script Great is one of two books I recently picked up on scriptwriting/screenwriting because...well, basically because I like to learn, and learn I did. There are more pages dogeared, highlighted, and marked up than there are pages untouched.

Begin with the concept that storytelling is storytelling is storytelling and it doesn't matter the medium because regardless of medium you want a strong, visceral reaction from your audience/reader.

Now recognize that any medium will touch on all aspects of getting that strong, visceral reaction to some degree; a character is a character is a character, a scene is a scene is a scene, dialogue is dialogue is dialogue.

Go one more to specific mediums emphasize specific aspects more than others due to that medium's limitations. Literature can handle 1st Person POV handily, script/screenwriting not so much.

Recognize that and the next item is to learn ways to fake 1st Person POV in a medium designed for 3rd Person Limited/Omniscient POV.

And if you stop there and say to yourself, "But I don't have to do that when I write a book" you're missing out on an incredible learning opportunity. Sure, you may never have to do that in a book but learning how to do it and - more importantly - how to work with such a constraint gives you the flexibility to use that technique, parts of that techniques, concepts from that technique, modify it, et cetera, to make your own non-script/screenwriting work sing.

I've written more on my blog.

[Alina · Rating 5 out of 5]

Дуже гарна книга з купою практичних порад щодо написання сценаріїв. Починаючи від самих азів (перша ідея, розробка персонажів, красномовні деталі) і до остаточного шліфування.

У чіткій та зрозумілій формі розкриваються прийоми, за допомогою яких можна формувати очікування аудиторії, готувати до розв'язки/обманювати публіку, викликати симпатію до персонажа, змушувати співчувати та вболівати за нього. На реальних прикладах розбираються принципи композиції (особливо - взаємодія кількох логічно завершених та повноцінних сюжетних ліній, що працюють на одну, головну історію), маніпулювання точками зору (втішає розбір невдалого рішення у фільмі "Підміна" та пропозиції, як можна було цієї помилки уникнути), правильна підготовка сюжетних поворотів, що мають не лише вражати публіку, а й досконало вписуватись у розказану історію.

Окрема подяка авторові за постійно й наочно повторюваний принцип: "Показувати, не розповідати", неслідування якому зіпсувало вже не одну кінострічку/роман.

Втім, є невеличкі зауваження стосовно перекладу. Місцями перекладач чи то поспішав, чи просто полінувався дослідити питання, і це виливається у фрази на зразок "Ми бачимо як Ейміш (замість "аміші") йдуть додому". Постійна "кавказька раса" замість "європеоїдної" не лише муляє око, а подейкуди й збиває сприйняття (все ж на "кавказьку зовнішність" асоціації інші). У останньому розділі кількість помилок та неточностей раптово зростає, складається враження, що книжку треба було негайно здавати до друку, і редактура не була доведена до кінця належним чином. У той же час деякі місця дуже втішили адекватною адаптацією, взяти хоча б "кружку/філіжанку кави" як приклад регіонально-специфічного лексикону.

Загалом: рекомендую всім, хто хоче створювати історії (не обов'язково сценарії - для романів, ігор, коміксів майже всі поради залишаться актуальними, хіба що метод їхнього застосування дещо зміниться).

[Mary Elizabeth · Rating 4 out of 5]

What you get here is just a sound, basic text on act structure, turning points, catalysts, and overall narrative cohesion in films and television.

Sure, there are sections on character development and idea development, but I found the content in these sections to be obvious to the point of uselessness. I don't want to mean to the book or to anyone who found it entirely useful, by any means. Certainly, I understand that the whole book's premise is to be a primer on the fundamentals, it's just that some parts were more refreshing, lucidly illustrated, and therefore exceedingly useful for my purposes than other parts.

In any case, this is my second time reading through it. I returned to this text (as well as a few others), so as to thieve the more interesting approaches to storytelling, just in case I get stuck in the next several months when I'm working on revising a short story, working on my graphic novel shebang, or playing with a spec script. I'm thinking I'll actually make schematic-type notes on certain parts so I can quickly refer to their lessons when I'm frustrated.

[Amanda · Rating 4 out of 5]

I think this is a great read if anyone is interested in producing their own screenplay or just writing their own work--whatever format that may be-- in general. I read this because I am interested in writing a screenplay and/or just wanting more creative writing tips. It's a good book to get your feet wet if you are unfamiliar with screenwriting. I have to check out more books on screenwriting, in my opinion, it is a pretty tricky and complex process!

[Muath Aziz · Rating 4 out of 5]

A good well-organized book for beginners. For someone like me who knows a little even about the Three Act Structure, it was easy to follow up with. It just assumes you've watched many movies already (I just skip reading a deep movie-analysis till I watch it then go back to read this skipped part).

I don't even intend to write scripts but it was helpful to develop a deeper eye and an insight in how writing in general and scripts specifically is done. It's like writing a play but then you have many bonus elements such as Credit, Cut Scene, Color Correction and Visual Effects to harness for the sake of delivering and narrating your story.

She insists on glorifying Three Act structure, but also emphasizes on Second Turning Point occurring on mid-act-two/mid-film. But then we can divide Second Act into two acts. The structure becomes Four Act structure as my friend Ayman (I borrowed the book from him) suggests. That is not contradicting with her reasoning, t's just a difference in labeling.

She is a bit academic and by-the-book. Three Act Structure is ancient history; developed by Aristotle! I watched Apollo 13 where the director followed this book to develop as she mentions (this is third edition, he read earlier one). She claims that Three Act Structure doesn't necessarily lead to predictive story just as that music structures where each Fugue or Sonata composition is unique. I'm not gonna lie, Apollo 13 was cliché (hence 13) and predictive, but at least not as bad as Gravity's (another Space movie) predictability.

So what's going on? Why does she insist on avoiding artistic not-following-rigid-Three-Act-Structure even though she gives really good examples of such artistic movies? "Making good script great", great as in sellable and profitable, as noted by a fellow goodreader. TAS is the to-go-to mainstreamizer. Note that HEAVENLY artistic movies are not usually box office hits, such as that 2001: Space Odyssey was not a financial success because many people didn't like it and may walked out of theaters because they couldn't figure what the movie is about. I can't say if the movie followed TAS or not, but it is indeed artistic and not at all predictable. So darling, do you want to write the next Die Hard, or the next Space Odyssey?

Subplots chapter describes how subplots should be inserted within acts and developed throughout the film and not at the very beginning (viewers will think it's the main plot) and not at the very end (the story ended and interest is lost). She inserted Subplots chapter between TAC chapter and Second Act chapter. The book is narrated following the same structure described within it lol.

I noticed one thing reading POV chapter. Yesterday I watched Rashomon, it starts with two people stuck under ruins because of the rain, a third man came running joins them. The two men eyes are wandering, they still can't believe the story that happened to them throughout last week. The third man since he has nothing to do (the rain seems going to fall for a while longer), doesn't mind the two men telling him their story. Now, if the movie started just when the story started you don't know what to expect, but with this way you know it's a really interesting story, you know the two men still live, but be careful since you're raising the expectations of the viewers (the two men kept insisting to third man that their story is unbelievable). Many movies start with unique ways of narrating. Double Indemnity starts with protagonist (insurance agent) walking to his manager's office and starts recording to him, telling him that he was responsible for everything but eventually he didn't get the girl nor the money. I mean the heck! This was 3 minutes into the movie and we already know how it's going to end?! Interesting! The way The Mural (an epic magnum-opus poem by arabic poet Mahmoud Darwish) starts with "This is your name, said a women and gone. I see the sky over there, within a hand's reach. And the wing of a white dove lefts me into a new childhood. I didn't dream that I was dreaming, everything was realistic. White; everything was White. I came before my time, no angel showed before me telling me (what did you do, there, in life?). I didn't hear the cheers of the righteous nor the moans of sinners. I'm lonely in Whiteness.. I'm lonely..", goosebumps..

So the way you start (and tell) a story is really important. Imagine you will do a story just the way Citizen Kane was done, how well will you do? I especially pay attention to how novels and movies are narrated and POVed. The way a story is told is really interesting and gives you an insight into the story itself. Kane seems to be a really famous controversial person because everyone knows him and has a POV that flash us back into a side of Kane's life. If we just started with Kane while he was a kid and saw him grow up then dying, he is not going to be the same awesome person as the way it's done in the movie!

I resonated so much with POV and Character Functions chapters; strongly thought-provoking.

[Raúl · Rating 4 out of 5]

Muy bueno el repaso de diferentes conceptos de escritura desde la trama y narrativa de la historia, hasta la construcción de personajes y sus conflictos.

[Paul Darcy · Rating 3 out of 5]

As I struggle away on my current movie script I find myself looking through, or in this case completely reading, “how to” movie script books.

I will say this book by Linda Seger certainly has packed a lot of information in ‘Making A Good Script Great’ in not so many pages, and most of it is quite helpful. I read it through in three days and haven’t really had the time to digest all the information yet (I plan on re-reading sections again), but Linda really does seem to know what she is talking about.

The book is broken down into three sections. The first deals with story structure, how to make sure your script has structure and what to look for and repair if it doesn’t. Though not a formula, the three act script is universally acceptable and dates back as far as Greek plays and probably even oral traditions before that. She covers it pretty well, but I got more information on script structure from “The Screenwriter’s Bible” by Trottier.

The second section is ‘idea development’ and to me seemed sort of vague. But then again nobody can tell you how to come up with mythology or themes. Linda does a good job though telling you how to search through your script and find those elements and expand on them.

The third part is where I find this book really shines. It is about character development and I must say it is extremely well done. It covers motivation, conflict and character types in much detail. If you buy this book for only this one section it will worth your coin. Very well done and something I am going to follow for sure.

There is a fourth section dealing with the development of the script for ‘Witness’ and it is a good look behind the scenes of an award winning script and what it took to bring it to the box office. Not sure if I find it encouraging or depressing - but I did find it interesting.

In short, this is a “Great” addition to any script writers collection, even if you only use it for the character section. I did get one good belly laugh out of the introduction though and will (without permission - I will burn in that “special” level of hell) reprint it here.

From the introduction to “Making A Good Script Great” - “After submitting his script to a producer who turned him down, he protested, ‘but it’s much better than anything else I’ve seen!’ ‘Of course,’ said the producer. ‘Anyone can write better than that. The trick is to write so brilliantly that after everyone ruins it in rewrites, it’s still watchable.’

[M M · Rating 1 out of 5]

Hired Linda to do notes on a script. Total rip off. Horrible distractive disrespectful so-called notes. Didn’t even look as though she read the script. She used old worn out platitudes. She was also very rude. After she got the money, she was even more disrespectful and hard to reach. Others knew of her so-called notes and thought they were also terrible and inappropriate. Threw her book in the trash given there are so many better books. Linda Seger just wanted to criticize everything and just to keep the writer on the string by being abusive and making worthless comments, and Linda Seger could have cared less about doing a good job that she was hired for. Arrogant. Buyer beware. Truly the rudest most disrespectful person I’ve ever hired for anything - total rip off. She acted like the writer worked for her. Not worth it is an understatement.

[Jessamyn Leigh · Rating 4 out of 5]

Lots of straightforward, practical tips in here.

[vixorr · Rating 2 out of 5]

Riletto per l’esame di scrittura creativa 2…un libro orrendo. Sembra una guida su come creare una sceneggiatura SOLO per vendere e incassare soldi denaro evvaiii money euro. Letteralmente c’è un capitolo che si intitola “Rendere commerciale la sceneggiatura”. Sembra come se gli sceneggiatori debbano basarsi unicamente sul profitto che ne ricaverà il prodotto finito, si parla di vendere e incassare e successi/insuccessi al botteghino in continuazione.
Il tutto scritto malissimo con decine e decine di ripetizioni e un bel po’ di razzismo, sessismo e omofobia. I film presi in esame sono sempre quelle 3 o 4 normalate americane mid che nessun libro di storia del cinema citerà mai. Metto 2 stelle anziché 1 solo perché alla fine mi è stato utile per certi aspetti.
Linda Seger ha visto 50 film in vita sua e sono tutti blockbuster americani.

[Marco Alegría · Rating 4 out of 5]

Creo que es la 5ta relectura. Siempre me logra refrescar ideas olvidadas y dar una nueva perspectiva sobre el proceso de escritura y reescritura. Recomendado completamente como primer manual para quienes se interesan en la escritura dramática para formatos audiovisuales (o dramaturgia o narrativa), ya que el orden, la exposición y los ejemplos de cada tema son buenísimos. La estrella de menos es por comentarios desafortunados sobre la homosexualidad como una anormalidad en el capitulo sobre los tipos de personajes (principales, secundarios, de apoyo, temáticos…); son mínimos, nada que no pueda ser eliminado sin afectar la integridad del texto en una nueva edición.

[Sergio Mira Jordán · Rating 3 out of 5]

Todo se resume en: reescribir, reescribir y reescribir. Partiendo de una buena y cuidada estructura, claro. Si la trama no funciona como un reloj suizo la historia terminará haciendo aguas antes o después. Este manual (que presupone que estamos frente a una buena historia) nos habla de películas, pero sus recomendaciones se pueden extrapolar a la narrativa en general. Hay cientos de libros sobre el tema, aunque todos vienen a decir lo mismo: consigue que la historia no se estanque y triunfarás. Como si fuera tan fácil, ¿no?

[Ariadna Álvarez · Rating 4 out of 5]

Linda Seger consigue enseñar lo más básico en un libro corto y sencillo de entender. Lo que explica, aunque pensado para cine, se puede aplicar a cualquier obta de narrativa, lo que aumenta su valor en este contexto de "personas iniciadas que buscan algo con lo que empezar". Sobre todo habla de estructura y de personajes.

[Andrés López C. · Rating 5 out of 5]

👍 Un libro con consejos muy prácticos para la revisión de guiones cinematográficos, preguntas puntuales que debemos hacernos durante la reescritura en nuestro proceso creativo.

Con ejemplos claros de películas como:

🔶Regreso al futuro
🔶Único testigo
🔶Tiburón
🔶E.T.
🔶La reina de Africa

Sin duda, un libro para leer cada vez que estemos trabajando un nuevo proyecto.

[Davide Orrù · Rating 3 out of 5]

Una buona mappatura di alcuni strumenti fondamentali per scrivere una sceneggiatura, con esempi molto interessanti, in particolare quelli tratti dai film "Tootsie" e "Witness".
Forse un po' troppo convenzionale e schematico nel dire quali sceneggiature funzionino e quali no.

[P.G. Sundling · Rating 5 out of 5]

This was a UCLA textbook for film classes in the early 1990s, so I bought the first edition. The advice had aged well, despite the example movies being a little old (like Romancing the Stone and Witness). I don't know if later editions are for more current films, but the same rules apply.

[Aly · Rating 5 out of 5]

Ottimo libro per principianti. Tratta quasi esclusivamente di sceneggiatura e costruzione delle storie con una analisi approfondita degli elementi che la costituiscono. C'è qualche esercizio e riflessione interessante per chi ha bisogno di esercizio. Consigliato

[Alexandra Addams · Rating 5 out of 5]

I'd give this book ten stars if I could. Huge font of information presented in a clear and structured way so as not to overwhelm the reader (and writer). I will be reading this one over and over again I can tell.

[Salem · Rating 4 out of 5]

Super helpful and informative, even as someone who has years of screenwriting experience already. I can see myself coming back to certain sections of this book many times in the future as I continue my screenwriting journey!

[David Ross · Rating 5 out of 5]

Solid analysis of screenwriting. Found it recommended in another text and it lives up to the tip. Perhaps not much in revelation here but very clear with a couple of wisdom gems that I haven't seen in similar books.

[Maurick Starkvind · Rating 4 out of 5]

Después de leerme este libro, tengo la impresión de que he de tirar a la basura todas las tonterías que he escrito y volver a empezar. Eso sí, mejor.

[Vincent Konrad · Rating 4 out of 5]

v practical tool for figuring out what to change. like most good advice, it's stuff that seems obvious once one reads it but that one would not have thought of otherwise.

[deb · Rating 3 out of 5]

3,5/5

[DJ van Staden · Rating 5 out of 5]

Excellent read! Recommended to me by a good friend. Really breaks down the theory behind what it takes to make a script great. Essential for any script writer.

[Michael Margaryan · Rating 5 out of 5]

I'm amazed.

[Matt Andrus · Rating 5 out of 5]

Great book, and very informative.

[Mia Varinia · Rating 5 out of 5]

Maravillosa explicación y lo mucho que se parece a una novela. Está muy claro y ameno.

[Tamburino · Rating 4 out of 5]

In its specifics, more useful than most manuals on screenwriting.

[Andriy Odlyvanyy]

Come scrivere una grande merda.