This is a select list of material held in the Jerzy Toeplitz Library, the library of the
Australian Film, Television and Radio School. These resources support the Scriptwriting
department’s curriculum. Further material may be located via the catalogue.
USING THE COMPUTER CATALOGUE
To locate further information, search under the following headings in the computer
Broadcasting - authorship
Characters and characteristics
Comedy - authorship
Comedy - technique
Fiction - technique
Motion picture authorship
Motion picture plays - technique
Television scripts - technique
Browse for books and videos under the following numbers:
Scriptwriting - general
Writing for radio
Writing for television
Writing for films
This bibliography is divided into the following sections:
Pitching and selling your screenplay
Low budget filmmaking
Series and Serials
Internet screenwriting resources
Framework: a history of screenwriting in the American film.
New York: Continuum, 1988.
Scriptwriting: style and layout / notes and examples prepared
by the Writing Department, Australian Film, Television and Radio
School. [North Ryde, N.S.W.: AFTRS, 1998].
Style manual for authors, editors and printers. 6th ed. by Snooks
& Co. Milton, Qld.: John Wiley & Sons, 2002.
Correct format for screenplays and teleplays. 3rd ed. Anaheim, Ca.: 58
The Forbes Institute, 1992.
Agee on film. London: P. Owen, 1963,1965. 2 vols.
vol. 1 & vol. 2
BEAIRSTO, F. G.
The Tyranny of story: audience expectations and the short
screenplay. Vancouver: Vancouver Film School, 1998.
The craft of the screenwriter: interviews with six celebrated
screenwriters. New York: Simon and Schuster, 1981.
The way of the screenwriter. Toronto, CA.: Anansi, 2005
Screenwriters on screenwriting. New York: Hyperion, 1995.
Script girls: women screenwriters in Hollywood. London: British
Film Institute, 1994.
The screenwriter looks at the screenwriter. New York: Macmillan,
The new screenwriter looks at the new screenwriter. Los Angeles: 44
Zen and the art of screenwriting: insights and interviews. 1st ed.
Los Angeles: Silman-James Press, 1996.
Adventures in the screen trade: a personal view. New York:
Which lie did I tell? more adventures in the screen trade.
London: Bloomsbury, 2000.
Kathy Acker with Angela McRobbie. (video). London: ICA
Video, 198-. (VHS) 40 min.
The women who write the movies: from Francis Marion to Nora .
Ephron. Secaucus, NJ: Carol Pub. Group, 1994.
Potter on Potter / edited by Graham Fuller. London: Faber, 1993.
Wole Soyinka. (video). London: ICA Video, 1984. VHS (50 min.)
Writing for film. (video). - Australia: Australian Film, Television
and Radio School Teaching Resources, 1989. (VHS & Umatic) 52 min. 31
Writing for radio. (video). Australia: Australian Film, Television
and Radio School Teaching Resources, 1989. (VHS & Umatic) 44 min. 1
Aristotle's Poetics: a translation and commentary for students of
literature. Tallahassee: University Presses of Florida, 1981.
ARNOLD, B., EDDY, B.
Exploring visual storytelling. Clifton Park, NY: Thomson Delmar
Scriptwriting updated: new and conventional ways of writing for
the screen. North Ryde: Australian Film Television & Radio School,
To dress a nude: exercises in imagination. Dubuque, Iowa:
Save the cat! goes to the movies: the screenwriter's guide
to every story ever told. Studio City, CA: Michael Wiese
A practical handbook for the actor. N.Y.: Vintage Books, 1986
Writing dialogue. Cincinnati, Ohio: Story Press, 1998.
Rewrite: a step- by- step guide to strengthen structure,
characters, and drama in your screenplay. Studio City, CA:
Michael Wiese Productions, 2008.
COOPER, P. & DANCYGER, K.
Writing the short film. 2nd ed. Boston: Focal Press, 2000.
The craft of copywriting. London: Hutchinson Business, 1987.
Global scriptwriting. Boston: Focal Press, 2001.
DANCYGER, K. and RUSH, J.
Alternative scriptwriting: successfully breaking the rules. 4th ed.
Boston: Focal Press, 2007.
Broadcast writing: dramas, comedies and documentaries. Boston: 32
Focal Press, 1991. 102p.
Writing dialogue for scripts. London: A. & C. Black, 1998.
Big screen, small screen: a practical guide to writing for film and
for film and television in Australia. St. Leonards, N.S.W.: Allen &
The art of dramatic writing: its basis in the creative interpretation 9
of human motives. New York: Simon & Schuster, 1960.
Fallen Angels: six noir tales told for television. New York: Grove
Screenplay story analysis: the art and business. New York:
Allworth Press, 2007.
Top shelf 1: reading and writing the best in Australian TV drama.
Sydney: Currency Press, 2001.
HADDRICK, G. (ed.)
Top shelf 2: five outstanding television screenplays. Sydney:
Currency Press in association with the Australian Film, Television
And Radio School, 2001.
Scriptwriting for animation. London: Focal Press, 1977.
Aristotle in Hollywood: the anatomy of successful storytelling.
Bristol, UK: Intellect Books, 2002.
Writing the character centred screenplay. Berkeley, Ca.: University 59
of California, 1994.
The way of story: the craft & soul of writing. Studio City, CA:
Michael Wiese Productions, 2007.
Story sense: writing story and script for feature films and
television. New York: McGraw-Hill, 1996.
On film-making: an introduction to the craft of the director.
London: Faber, 2004.
Understanding comics: the invisible art. New York:
Screenwriting. Mies, Switzerland; Hove: RotoVision, 2003.
Story: substance, structure, style and the principles of
screenwriting. New York: Regan Books, 1997.
Inside story: the power of the transformational arc. Ojai, Calif.:
Three Mountain Press, 2007.
Scriptwriting for the screen. 2nd ed. New York: Routledge, 2008.
Me and you and Memento and Fargo: how independent
screenplays work. New York: Continuum, 2007.
Screen language: from film writing to film-making. London:
Producers and writers with Pat Lovell. (video). Australia:
Australian Film and Television School Open Program Resources,
1981. (Umatic & VHS) 30 min.
Developing story ideas. Boston: Focal Press, 2000.
Writing for daytime drama. Boston: Focal Press, 1992.
Screenwriting from the heart: the technique of the character-driven
screenplay. New York: Billboard Books, 2000.
SCHWARTZ, M. E.
How to write: a screenplay. New York: Continuum, 2007.
Audition: everything an actor needs to know to get the part. N.Y.
Creating unforgettable characters. New York: H. Holt, 1990.
SEGER, L.and WHETMORE, E.J.
From script to screen: the collaborative art of filmmaking. New
York: H. Holt, 1994.
Making a good script great. 2nd rev. and expanded ed. Hollywood,
Ca.: Samuel French Trade, 1994.
The power of the dark side: creating great villains, dangerous
situations, & dramatic conflict. Studio City, CA: Michael Wiese
STEELE, A. (ed.)
Writing movies: a practical guide from New York's acclaimed
creative writing school. London: A. & C. Black, 2008.
Understanding screenwriting: learning from good,
not-quite-so-good, and bad screenplays. New York: Continuum,
[Steven de Souza seminar on the action film, August 14, 1994].
Australia: AFTRS, 1994. (VHS) 110 min.
Style manual for authors, editors and printers. 5th ed. Canberra:
Australian Government Publishing Service, 1994.
SWAIN, D. V.
Creating characters: how to build story people. Cincinnati, Ohio:
Writer's Digest Books, 1990.
Digital cinema: the Hollywood insider’s guide to the evolution
of storytelling. Studio City: Michael Wiese Productions, 2003.
The director's journey: the creative collaboration between
directors, writers, and actors. Studio City, CA: Michael Wiese
VAN SIJLL, J.
Cinematic storytelling: the 100 most powerful film conventions
every filmmaker must know. Studio City CA : Michael Wiese
The writer’s journey: mythic structure for screenwriters and
storytellers. 3rd ed. Studio City, Ca.: M. Wiese Productions, 1992.
The writers’ directory: writers for radio, screen, stage and
television in Australia. Sydney: Australian Writers’ Guild.
Bienniel. Lists credits for Australian writers. Includes indices by
Directing actors: creating memorable performances for film
and television. Studio City, Ca.: Michael Wiese Productions, 1998.
The film director’s intuition: script analysis and rehearsal
techniques. Studio City, Ca.: Michael Wiese Productions, 2003.
Cinematic Shakespeare. Lanham: Rowman & Littlefield, 2003.
ARMER, A. A.
Writing the screenplay: TV and film. Belmont, Ca.: Wadsworth, 1988.
See pages 186-202.
BLACKER, I. R.
The elements of screenwriting: a guide for film and television
writers. New York: Collier Books, 1988.
See pages 89-91.
BLUM, R. A.
Television and screen writing: from concept to contract. 3rd ed.
Boston: Focal Press, 1995.
The TV scriptwriter’s handbook. Cincinnati, Ohio: Writer’s Digest
BURT, R. and L. BOOSE (eds.)
Shakespeare, the movie: popularizing the plays on film, TV, video
and DVD II. London: Routledge, 2003.
4 [No.2 ]
On screen writing. Boston: Focal Press, 1985.
See Chapter 5: Adaptation continued...
GLAVIN, J. (ed.)
Dickens on screen. Cambridge, Cambridge University Press, 2003.
Shooting scripts: from pulp Western to film.
How to adapt anything into a screenplay. N.Y: J. Wiley, 2003.
Novel to film: an introduction to the theory of adaptation. Oxford,
New York: Oxford University Press, Clarendon Press, 1996.
Screen adaptation: a scriptwriting handbook. Boston: Focal Press, .
Shakespeare: a hundred years on film. 1st Scarecrow Press ed.
Lanham, Md.: Scarecrow Press, 2004.
The art of adaptation: turning fact and fiction into film. New York:
H. Holt and Co., 1992.
The primal screen: how to write, sell and produce movies for
television: with complete script of Drop-out father. N.Y. Norton, 1986
No, but I saw the movie: the best short stories ever made into film.
New York: Penguin Books, 1989.
WILLIS, E. E.
Writing scripts for television, radio, and film. New York: Holt,
Rinehart and Winston, 1981.
See pages 236-241.
Writing for television (video). Australia: Teaching Resources, AFTRS,
1989. (VHS) 48 min.
ARMER, A. A.
Writing the screenplay: TV and film. Belmont, Ca.: Wadsworth,
Making a good script great. 2nd rev. and expanded ed. Hollywood:
Samuel French Trade, 1994.
SERIES AND SERIALS
Television writing: the ground rules of series, serials and sitcom. 16
Nth Ryde, NSW: Australian Film, Television and Radio School, 2000.
BRANDT, G. (ed.)
British television drama in the 1980’s. Cambridge: Cambridge
University Press, 1993.
Big screen, small screen: a practical guide to writing for film and
television in Australia. St. Leonards, N.S.W.: Allen & Unwin, 1994.
FRIEDMANN, J. and ROCA, P. (eds.)
Writing long-running television series: lectures from the first
PILOTS workshop. Stiges, Catalonia, Spain, June/October, 1993.
Madrid: Media Business School, 1994.
Resources accessed in Grad Dip: Screenwriting workshop with editors
The cutting edge: the magic of movie editing. (Documentary).
United States: TCEP Inc, 2004. (DVD).
The director/editor relationship. (Documentary). Australia: Ozdox,
ASDA, 2007. (DVD).
ROGER, C. (ed.)
Fine cuts: the art of European editing. Oxford: Focal Press, 2006.
Selected takes: film editors on editing. New York: Praeger
In the blink of an eye: a perspective on film editing. Beverly Hills,
Ca: Silman-James Press, 2001.
First cut: conversations with film editors. Los Angeles: University
of California Press, 1992.
The conversations: Walter Murch and the art of editing film.
Toronto: Vintage Canada, 2002.
ROSENBLUM, R., & KAREN, R.
When the shooting stops … the cutting begins: a film editor’s
story. New York: Penguin Books, 1979
Non linear editing and visual literarcy. London: British Film Institute,
Comedy scriptwriting. (video). Australia: AFTS Open Program
Resources, 1984. (Umatic & VHS) 29 min.
NEALE, S. & KRUTNIK, F.
Popular film and television comedy. London: Routledge, 1990.
Comedy writing step by step. lst Samuel French. ed. Hollywood, Ca.:
Samuel French, 1990.
What are you laughing at? How to write funny screenplays, stories
& more. Studio City, Calif Michael Wiese Productions, 2003.
The craft of writing TV comedy. London: Allison and Busby, 1989.
The sitcom seminars. (video). Australia: AFTRS, 1993.
(2 VHS videocassettes) 326 min.
Comedy writing. (sound recording). [Los Angeles, Calif.] : Truby’s
Writers Studio, c1991-2003. (1 sound disc) 900 min.
The comic toolbox: how to be funny even if you’re not.
St. Leonards, N.S.W.: Allen and Unwin, 1994.
Writing for comedy. Australia: Teaching Resources, AFTRS, 1989.
(Umatic & VHS) 54 min.
See Treatments Quicklist.
BERGER, A. A.
Scripts: writing for radio and television. Newbury Park, Ca.: Sage
See Chapter 8: Documentaries
Script writing for short films. Paris, UNESCO, 1969.
From script to screen: documentaries. Borehamwood, Hertfordshire: 14
BBC Television Training, 1986.
Writing documentary script and narration. North Ryde, N.S.W.:
AFTS Open Program, 1980.
Includes excerpts from storyboards and examples of script formats
Corporate scriptwriting: a professional's guide. Boston: Focal Press, 35
Scriptwriting for the audio-visual media.
New York: Teachers College Press, 1978.
See section on Non-fiction films, pages 78-117.
Includes excerpts from scripts.
Writing for corporate video. London: Focal Press, 1990.
Provides comprehensive guidance, to both the writer
experienced in other media and the beginner, on developing,
improving and strengthening scripts for corporate video.
Professional broadcast writer's handbook. Blue Ridge Summit, Pa.: 27
Tab Books, 1974.
See chapter 3: The Documentary.
The radio documentary handbook: creating, producing and
selling for broadcasting. Vancouver: International Self-Counsel Press,
Writing for television and radio. 5th ed. Belmont, Ca.: Wadsworth
Publishing Company, 1991.
See chapter 8: Features and documentaries. Includes exercises Covers
The biographer's craft. New York: Harper and Row, 1986.
Practical advice on gathering, writing, shaping and polishing
Pictures and words: the use of words in film and television.
North Ryde, N.S.W.: AFTS, 1983.
How to write, direct and produce effective business films and
documentaries. 1st ed. Blue Ridge Summit, Pa.: Tab Books, 1978.
The corporate scriptwriting book: a practical, step by step guide to 11
guide to writing scripts for organizations. Philadelphia: Media
Concepts Press, 1980.
Screenwriting for narrative film and television. New York:
Hastings House, 1980.
See chapter 12: Documentary, non-fiction, and fact films.
Pictures and words. (video). Australia: Australian Film and
Television School Open Program Resources, 1981. (Umatic) 28 min.
Writing, directing, and producing documentary films. Carbondale, 20
Ill.: Southern Illinois University Press, 1990.
Writing docudrama: dramatizing reality for film and TV. Boston:
Focal Press, 1995.
Scriptwriting. (video). Australia: Australian Film and Television
School Open Program Resources, 1980. (2 videocassettes, Umatic
and VHS) 67 min.
The art of adaptation: turning fact and fiction into film. New
York: H. Holt & Co, 1992.
See chapter 10: Writing a docudrama for television.
WILLIS, E.E. and D'ARIENZO, C.
Writing scripts for television, radio and film. New York: Holt,
Rinehart and Winston, 1981.
See chapter 4: Documentaries.
PITCHING AND SELLING YOUR SCREENPLAY
The script is finished, now what do I do? Studio City, Ca.: Sweden
How to write and sell TV scripts in Australia and New Zealand.
Richmond, Vic.: William Heinemann Australia, 1985.
DE ABREU, C. & SMITH, H.J.
Opening the doors to Hollywood: how to sell your idea, story,
book, screenplay. Beverley Hills, Ca.: Custos Morum, 1995.
Selling a screenplay: the screenwriter's guide to Hollywood. New
York: Delacorte Press, 1989.
Writing screenplays that sell. London: Elm Tree, 1989.
Screenwriting for a global market: selling your scripts from
Hollywood to Hong Kong. Berkeley: University of California
MCCARTHY, P. & HATCHER, C.
Speaking persuasively: making the most of your presentations.
St. Leonards, N.S.W.: Allen & Unwin, 1996.
How to sell your screenplay: the real rules of film and television.
New York : New Chapter Press, 1988.
How to pitch and sell your TV script. Cincinnati, Ohio: Writer’s
Digest Books, 1991.
Getting your script through the Hollywood maze. Los Angeles, Ca.: 47
Acrobat Books, 1993.
TURNER, B. (ed.)
The screenwriter's handbook. London: Macmillan, 2007.
Selling your screenplay. New York: Crown Publishers, 1988.
LOW BUDGET FILMMAKING
Independent and low: a beginners guide to low budget filmmaking 16
in Australia. [1997?].
Fast, cheap and written that way: top screenwriters on writing for 808.23
low-budget movies . Studio City, Ca: Michael Wiese Productions,
LOW BUDGET FEATURE SEMINAR (1995. Sydney, N.S.W.)
Low means low: the collected papers from the Low Budget
Feature Seminar / Philippa Bateman (AFC editorial executive),
Catherine Knapman (editor). Sydney: Australian Film Commission,
Deliverance. Carbondale: Southern Illinois University Press, 1982.
INTERNET SCREENWRITING RESOURCES
Australian Copyright Council Bulletins.
Published quarterly by the Creative Screenwriters Group.
Publishes critical, theoretical, historical and practical essays on all
aspects of writing for TV and the movies. Also critical review of books
products, and seminars.