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Writing the Second ACT: Building Conflict and Tension in Your Film Script, by Michael Halperin
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Every screenplay needs an attention-grabbing beginning and a satisfying ending, but those elements are nothing withour a strong, well-crafted middle.
- Sales Rank: #740228 in Books
- Brand: Brand: Michael Wiese Productions
- Published on: 2000-12
- Released on: 2003-07-25
- Original language: English
- Number of items: 1
- Dimensions: 8.85" h x .48" w x 5.99" l, .65 pounds
- Binding: Paperback
- 240 pages
- Used Book in Good Condition
About the Author
Halperin is a professional writer and has worked extensively as a creativeand story consultant in the television industry.
Most helpful customer reviews
2 of 5 people found the following review helpful.
Pulling It Together
By Arlene Clendenin
WRITING THE SECOND ACT by Michael Halperin is one of the most important books available for a screenwriter. Whether you are a beginner, plotting out the structure of your first script or an experienced writer, tackling a difficult re-write, Mr. Halperin's book helps pull it all together. An analogy of his book is that of a speeding train with fiery boilers. The engine speeds forward pulling the rest of the cars with it. The last car or caboose receives the benefit of all the energy the engine and other cars can muster. The train links are secure and tight thus, pulling the caboose to the train station. Michael Halperin with great insight, lays out how to keep the train together in the ensuing energetic trip to its conclusion and on time.
Without utilization of the usual formulaic measures, Mr. Halperin shows a writer how to specifically write scenes of the second act. In WRITING THE SECOND ACT, he skillfully points out the elements controlling a successful act two in any script. The simplicity with which he has identified, classified and illustrated these points, makes fascinating reading.
To prevent what is nefariously called "writers block" or for a technically involved writer to say "What do I do now?", Halperin relieves the writer of tension and lack of focus. Logic and character delineation become key points. Consequently, the needed tie-in between Act I and Act III become an intriguing leitmotif, pulling the story forward while retaining or building the passion and mystery required.
As Halperin states, "The second act should reveal the emotional, passionate, funny or diabolical edge inherent to the story." Well-known writers, students or practitioners of the craft of writing should read thes book over and over until the points mentioned become the screenwriters bible firmly imbedded in their brain synapse. Bravo Michael! Write on!
24 of 26 people found the following review helpful.
Offers no insights
By A Customer
I really have to go side with the disappointed people here.
The second act is often called the "mountain" that screenwriters have to climb and it is indeed a daunting task. So any offer of help is much sought after.
A total novice screenwriter might find this book of interest, but a writer who knows the basics and looking for tips and insights particular to the second act will be sorely disappointed.
The section on building conflict can be summed up as "Building conflict in the second act is a good idea. Here are some examples of conflict in the second act...."
As I read this book, I became angry at the almost blatant disregard for the intelligence of the reader and I only finished it in order to be qualified to offer a review.
The fact the type is presented in a large size, double spaced and with thick margins shows that the printers knew they had to hide a lack of content.
16 of 18 people found the following review helpful.
A bit thin and watery
By A Customer
While the premise of the book, the concept focusing on the second act, is a very good one, what you actually get is rather watered down and a bit too basic. It always helps to learn from those who are themselves successful, and unfortunately I knew nothing about Halperin before reading his book. His resume includes basically being a staff writer for Star Trek Next Generation, Falcon's Quest, Quincy, and the Masters of the Universe cartoon, none of which stands out as a pillar of literary depth or quality (also note - none of these are FILMS, about which the book is supposed to teach.) There are many books out there written by more serious and talented writers that would be of much more use to an aspiring screenwriter.
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