- 1 tub containing 176 tiles
- Tiles are 1 x 1″
- Black letters printed on white plastic
- Reusable plastic storage tub with screw-top lid
- Teach counting, hand-eye coordination
The set includes 2 of each uppercase and lowercase letter with extras of the most used letters. For convenience, all the vowels are red to make them easy to spot. Our Foam Magnets are durable, extra thick, and the perfect size for individuals who need to improve their fine-motor skills. The convenient, plastic storage bucket with a secure lid keeps everything together when not in use.
Many writers view style as a dreaded Bermuda Triangle–they have no idea how to improve anything they have written. This book dispels much of that mystery, using the findings of modern linguistics to explore the relationship between written and spoken voices and to uncover little-known ways to control rhythm and emphasis.
Engaging and direct, Style: Lessons in Clarity and Grace is the guidebook for anyone who wants to write well.Engaging and direct, Style: Lessons in Clarity and Grace is the guidebook for anyone who wants to write well.
Williams’ own clear, accessible style models the kind of writing that audiences–both in college and after–will admire. The principles offered here help writers understand what readers expect and encourage writers to revise to meet those expectations more effectively. This book is all you need to understand the principles of effective writing.
A short and entertaining book on the modern art of writing well by New York Times bestselling author Steven Pinker
Why is so much writing so bad, and how can we make it better? Is the English language being corrupted by texting and social media? Do the kids today even care about good writing? Why should any of us care?
In The Sense of Style, the bestselling linguist and cognitive scientist Steven Pinker answers these questions and more. Rethinking the usage guide for the twenty-first century, Pinker doesn’t carp about the decline of language or recycle pet peeves from the rulebooks of a century ago. Instead, he applies insights from the sciences of language and mind to the challenge of crafting clear, coherent, and stylish prose.
In this short, cheerful, and eminently practical book, Pinker shows how writing depends on imagination, empathy, coherence, grammatical knowhow, and an ability to savor and reverse engineer the good prose of others. He replaces dogma about usage with reason and evidence, allowing writers and editors to apply the guidelines judiciously, rather than robotically, being mindful of what they are designed to accomplish.
Filled with examples of great and gruesome prose, Pinker shows us how the art of writing can be a form of pleasurable mastery and a fascinating intellectual topic in its own right.
“Michael Rogan’s “Screenplay Format Made (Stupidly) Easy” is a short, but invaluable reference for any screenwriter. I can not stress this enough. YOU NEED THIS BOOK! ” -Jennifer
“I’ve read my fair shares of DIY’s, and this one was one of the best. Rogan explained the techniques of screenwriting in a clear, succinct manner with a generous touch of humor. ” – Sara T.
Want to learn screenplay format without spending hours and hours poring over books that read more like an insurance manual than a format guide?
Want a screenplay template guide that will show how you to do cool things like a CROSS DISSOLVE or an INTERCUT or an ANGLE ON without looking like a total newbie?
Want some clear screenplay examples that don’t sound like they came from the 80s?
Screenplay format ain’t rocket science, but it can be confusing. (Especially if you’re relatively new to the craft of screenwriting.)
That’s why I put together this book.
I was tired of screenplay format tomes that sounded like employee handbooks, and didn’t have any cool tricks in them.
I was tired of looking at books that were using terms and techniques that were passé and dated when Mel Gibson was still a bankable movie star.
Because for all the terms, and there are a lot of them, screenplay format is really still all about telling the reader:
1. Where we are
2. What’s going on
3. What people are saying
4. What we should look at
And, yes, it’s true. Software such as Final Draft or Movie Magic will keep your margins intact and your spacing accurate.
But software WON’T tell you how to set up a shot heading on a spaceship.
Or how to control pacing in your action-movie car chase.
Or the right way to use parentheticals.(Answer: Sparingly, if at all.)
A lot of screenwriters think just turning in a script in the FDR (Final Draft) format is enough to show they belong in the industry.
But one errant use of “WE PULL BACK TO SEE” or the “CAMERA PULLS BACK TO REVEAL” can brand you as an amateur quicker than a Walker, Texas Ranger DVD collection.
Good screenplay format isn’t just about following rules. It’s about making things easier on the reader. (And don’t you think the reader suffers enough, having to slog through endless “vampire romance” specs.)
So as you learn the proper uses of ANGLE ON or DISSOLVES or MOVING WITH, remember it’s not about the dials on the amplifier.
It’s about the music it makes.
There’s a lot of technical stuff (ie: crap) as it relates to screenplay format. From secondary shot headings to reverse angles to intercut conversation, a well-meaning writer could spend months, if not years, trying to master it.
Just learn the basics, or at least enough to make you not look like a total imbecile, and then keep writing.
And that’s what this book can hopefully do.
It’ll show how to put camera moves in your screenplay without sounding like a total tool, and which effects you should steer clear of. (Yes, I’m talking to you montage!)
I’ll also answer some of the biggest questions screenwriters have in regards to screenplay format such as:
• How do I write a flashback?
• How do I introduce a character who has no name?
• How do I write a montage?
• How do I write an action scene?
• How to I write telephone calls?
• Is a car an interior or an exterior?
To me, all of these questions have one underlying context.
How do I write a script which I plan to send to managers and agents without looking like a total moron?
So whether you’re brand new to screenwriting, or just want to make sure you’re executing screenplay format properly, pick up a copy of Screenplay Format Made (Stupidly) Easy.
What you learn in this book may help you sell your script, make millions of dollars, and date Megan Fox. (Or maybe not.)
Good luck with your writing!
As director Gus Van Sant observes in the introduction to Matt Damon’s and Ben Affleck’s screenplay Good Will Hunting, the two young actors somewhat resemble the characters they play in the film: they’re best friends, and Affleck (who plays Chuckie) habitually chauffeurs Damon (Will), who doesn’t drive. Van Sant says we can see how badly Damon drives by watching the film’s last scene, in which he is actually driving the car with the camera mounted on it. But Damon and company write better than he drives; this script contains some of the boldest, best monologues since Pulp Fiction.Van Sant and cast member Robin Williams helped the young actors tame the tigers in their cranial tanks, trimming the script into a precision instrument. Though the stills from the film are not perfectly matched to their places in the script, this story remains as much a joy to read as it is towatch on the big screen.As director Gus Van Sant observes in the introduction to Matt Damon’s and Ben Affleck’s screenplay Good Will Hunting, the two young actors somewhat resemble the characters they play in the film: they’re best friends, and Affleck (who plays Chuckie) habitually chauffeurs Damon (Will), who doesn’t drive. Van Sant says we can see how badly Damon drives by watching the film’s last scene, in which he is actually driving the car with the camera mounted on it. But Damon and company write better than he drives; this script contains some of the boldest, best monologues since Pulp Fiction.
Van Sant and cast member Robin Williams helped the young actors tame the tigers in their cranial tanks, trimming the script into a precision instrument. Though the stills from the film are not perfectly matched to their places in the script, this story remains as much a joy to read as it is towatch on the big screen.
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