Technical Writing for Today and Tomorrow offers students a comprehensive approach to the process and products of technical writing. In addition to grounding scientific and industrial writing in rhetorical practice and compositional models, the text tackles contemporary issues related to technical writing, including scientific literacy, intellectual property, collaborative writing, emerging media, and more. The book offers an integrated approach to communications in science and industry, teaching students the complete process of planning, researching, designing, and refining message in content, as well as modeling their successful outcomes. Part I explores the essential principles of technical writing, including the development of sound rhetorical strategy, appropriate phrasing and tone, and solid reasoning and arguments. In Part II, students learn about the critical nature of readability and design in technical writing. They examine sentence structure, flow, document design, and more. The final part focuses on the various documents and contexts of technical writing, discussing practical applications, reports, public documents, presentations, and press. Written to provide students with a complete foundational introduction, Technical Writing for Today and Tomorrow is an ideal resource for courses in technical writing.

"The Psychology of Screenwriting "is more than an interesting book on the theory and practice of screenwriting. It is also a philosophical analysis of predetermination and freewill in the context of writing and human life in our mediated world of technology. Drawing on humanism, existentialism, Buddhism, postmodernism and transhumanism, and diverse thinkers from Meister Eckhart to Friedrich Nietzsche, Theodor Adorno, Jacques Derrida, Jean Baudrillard and Gilles Deleuze, "The Psychology of Screenwriting" will be of use to screenwriters, film students, philosophers and all those interested in contemporary theory. This book combines in-depth critical and cultural analysis with an elaboration on practice in an innovative fashion. It explores how people, such as those in the Dogme 95 movement, have tried to overcome traditional screenwriting, looking in detail at the psychology of writing and the practicalities of how to write well for the screen. This is the first book to include high-theory with screenwriting practice whilst incorporating the Enneagram for character development. Numerous filmmakers and writers, including David Lynch, Jim Jarmusch, David Cronenberg, Pedro Almodovar, Darren Aronofsky, Sally Potter and Charlie Kaufman are explored. "The Psychology of Screenwriting "is invaluable for those who want to delve deeper into writingfor the screen.

THE LEGENDARY TEACHER OF STORY . . . Robert McKee's new book CHARACTER: The Art of Role and Cast Design for Page, Stage and Screen is an excellent companion volume to his hugely successful STORY: Substance, Structure, Style and the Principles of Screenwriting and DIALOGUE: The Art of Verbal Action for Page, Stage and Screen. Divided into four parts (In praise of Character, Character Creation, The Character Universe and Character Relationships) CHARACTER has a primary purpose of enriching the reader's insight into the nature of a fictional character and sharpens the creative techniques necessary to invent a complex cast of personalities, starting with the protagonist then adding the cast of supporting roles. McKee uses scenes from classic films and television programmes, Sex and the City, Casablanca, The Sopranos, Breaking Bad and Fawlty Towers, and the works of classical dramatists, Homer, Shakespeare, Samuel Beckett, to demonstrate how characters are constructed and developed for page, stage and screen. Robert McKee is an author, lecturer and story consultant whose popular writing workshops have brought him international fame. His book STORY, is the basis for his programme and it has defined how we regard the art of story creation. In STORY's companion volume, DIALOGUE, McKee offers the same in-depth analysis of how actors speak on the screen, on the stage and on the page. CHARACTER is a masterly work with a primary purpose of enriching the reader's insight into the nature of a fictional character and sharpening the creative techniques necessary to invent a complex cast of personalities, starting with the protagonist then adding the first, second and third tiers of supporting roles. CHARACTER is a brilliant addition to the genre and is essential reading for all aspiring writers.

Andre and Madeleine have been in love for over fifty years. This weekend, as their daughters visit, something feels unusual. A bunch of flowers arrive, but who sent them? A woman from the past turns up, but who is she? And why does Andre feel like he isn't there at all? Christopher Hampton's translation of Florian Zeller's The Height of the Storm was first performed at Richmond Theatre, London, and opened in the West End at Wyndham's Theatre in October 2018.

"The Pleasures of Structure "starts from the premise that the ability to develop a well understood and articulated story structure is the most important skill a screenwriter can develop. For example, good structure requires a great premise and rigorous character development. Without clear character motivations and goals--which are themselves indicative of key structural beats--your story is going exactly nowhere. Using the simple and flexible 'W' model of screenplay structure developed in the prequel "Write What You Don't Know," Hoxter sets this out as its starting point. This model is tested against a range of examples which are chosen to explore the flexibility not only of that model but of movie storytelling more generally. Writers and students often worry that they are asked to work 'to formula'. This book will test that formula to breaking point. For example, the first case study will offer the example of a well written, professional, mainstream movie against which our later and more adventurous examples can be compared. So the lessons we learn examining the animated family adventure movie "How To Train Your Dragon "lead us directly to ask questions of our second case study, the acclaimed Swedish vampire movie "Lat den Ratte Komma In "("Let The Right One In"). Both movies have protagonists with the same basic problem, the same goal, and they use the same basic structure to tell their stories. Of course they are very different films and they work on their audiences in very different ways. Our linked case studies will expose how simple choices, like reversing the order of elements of the protagonist's transformational arc and shifting ownership of key story beats, has an enormous impact on how we respond to a structural model that is otherwise functionally identical.

Special Effects: Short Takes on Stylish Prose tackles the dilemma dedicated writers have faced for generations: how to make words on the page as compelling as images on the screen. Perfect for film buffs and TV enthusiasts who want to improve their writing, this innovative handbook reveals how cinematics can transform syntactics. Packed with 40 proven strategies designed to make serious and scholarly texts "read" as seamlessly and enjoyably as great movies, and accompanied by nearly 100 writing prompts perfect for use in college courses, writers' workshops, and workplace conference rooms, this one-of-a-kind guide shows how to make the daring leaps action heroes and dauntless authors make routine. What do James Bond flicks and Dante's Divine Comedy say about the art of attention-getting beginnings? What does a thorough credit roll have in common with effective scholarly citation? How can film set gaffers and film noir writers show us how to "light" our prose? How are passive verbs like guys on the lam in old black-and-white spy thrillers? How do Black Panther films and Wonder Woman comics inspire us to flip our scripts, diversifying the characters, real and imagined, about whom we write? Special Effects addresses writing's most persistent craft questions by boldly going where no prose style guide has gone before: to a front row seat at the movie theater.