The Inner Game of Screenwriting: 20 Winning Story Forms

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The Inner Game of Screenwriting" goes through each of the 20 Inner Game Archetypes, and, through examples and exercises, explains how to construct them and let them make any screenplay a hit.

Product Details

  • Paperback: 160 pages
  • Publisher: Michael Wiese Productions (November 1, 2011)
  • Language: English
  • ISBN-10: 1615930612
  • ISBN-13: 978-1615930616
  • Product Dimensions: 6 x 0.4 x 9 inches
  • Shipping Weight: 1 pounds

Customer Reviews

Guaranteed to improve your screenwriting

 on February 12, 2012
By Joe T.
With this book Sandy Frank shines a bright light on a crucial aspect of screenwriting that’s easy for even professional writers to neglect — what goes on under the surface of plot. His lessons, tools, and well-chosen examples will teach you how to create characters that ring true and how to put them through changes that will satisfy an audience.

A "must have" for screenwriters

 on February 2, 2012
By Tornqvist
I just finished reading “The Inner Game Of Screenwriting” and I want to say it will have a profound impact on the way I go about constructing screenplays in the future. I fear my Inner Game up to now has been lacking as witnessed by comments I’ve received on screenplays such as “I never really cared about your protagonist.” I want to thank Sandy for the insights he presents in his book and their possible career-saving implications.

It’s all about the "who!"

 on October 30, 2012
By Kate
As the title indicates, this easy-to-read book focuses on developing the “inner game” of your story. The inner game represents the development of the main character over the course of the story, in relation to the development of the plot, or outer game. It wasn’t the most groundbreaking information ever, considering most (if not all) of the other screenwriting books I’ve read insist that you should have both a physical and an emotional goal for your hero, whether or not your hero realizes it, and whether or not these goals are at cross purposes. Even though it wasn’t exactly new information, it was presented differently, with lots of examples, and the author concentrated solely on this aspect of screenwriting (for TV and film). He also gave equal weight and value to stories that lead your hero to destruction, when most screenwriting books insist audiences (or Hollywood producers) only care about the hero’s triumph over his flaws. He came at it from a different angle, prompting me to consider the “who” sooner in my story development than the “what” and “how” of my plot. He also gave some good pointers in how to go about structuring story with that in mind, so both the “who” and the “what” dovetail nicely and make both the plot and the hero’s journey strong, including tips for sequels, spin-offs, and adaptations. He makes a very strong case that the character’s journey, whether positive or negative, is the most important factor in the success of your script. I found this book by Sandy Frank very helpful.

Regardless of what you write…YOU NEED THIS BOOK!

One person found this helpful.
 on January 9, 2012
By Steven Dworman
The amount of blood, sweat, and tears you’ll save by sitting down and devoring the insights in this book are enormous.

Wonderful book on character arc

One person found this helpful.
 on March 7, 2012
By Matthew Terry
There are certain elements to a screenplay and when I teach them the students usually respond positively. “Formatting.” Check. “3-Act Structure.” Check. “Characters.” Check. “Character Arc.” Wha??? It’s usually at this point where the students kind of glaze over. Most have some idea of story structure and have purchased “Final Draft” and are ready to write but then I toss the thought out to them about their characters: “Do they have arc?” And the eyes glaze over.

Solid Guidance for Screenwriters

3 people found this helpful.
 on November 16, 2011
By Stratford Sherman
Wish I’d read this book before writing my one, mercifully unproduced screenplay. Sandy Frank distinguishes between two essential and mutually interacting elements in a successful script: the “Outer Game” of plot, action, and event; and the “Inner Game” of character. More precisely, the inner game is about the root-level issues that a protagonist must face and the trajectory of the character’s inner response to challenge. If most American movies seem shallow, it may be because they haven’t developed the inner game.

The Deeper Way

3 people found this helpful.
 on October 12, 2011
By Paul Chitlik
Sandy Frank’s probe into “The Inner Game of Screenwriting,” provides some needed insight to one of the most important components of the story – the psychological progress of the central character. One of the most valuable hints he gives new and experienced writers is the Enneagram Institute’s method of categorizing people and how it can be used to create vibrant, interesting characters in your screenplay. I will be recommending this book to my students and anyone else who will listen. It helps you go deeper into the character, and the deeper you go, the better you will write that character.

This Inner Game wins!

One person found this helpful.
 on December 12, 2011
By Jakela
Sandy Frank has turned out an remarkable work for screenwriters of every ilk. Whether you’re a tyro or a pro, the Inner Game of Screenwriting offers you fresh insight into the crucial yet “open secret” of screenwriting. And in doing so, Frank distinguishes this book from the vast majority of “how-to”, “by the numbers” screenwriting books on the market. Since this review does NOT contain spoilers, you’ll have to read it to find out exactly what that big screenwriting secret is. But rest assured, it’s in there. Also, Frank’s analysis of what makes a TV series go the distance is alone worth the price of admission.

The Inner Game of Screenwriting

4 people found this helpful.
 on December 13, 2011
By Breddus
I would recommend writers to keep this book close to them when they write. It does remind us why we should write stories in the first place. Whether you agree or disagree with the notion that there can only be a certain amount of types of story does not matter, Sandy Frank explains why an audience (or readers) react to a protagonist that undergoes change or to a story that is mythical. His take on these two types of story should at the very least inspire any writer who disagrees to define his or her own take on story forms.

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