Poetics for Screenwriters presents a rather shallow perspective on both the art of screenwriting and the poetics involved. Just like many reference books related to the film business and story development, the understanding of the scene and the business aspects has become outdated quite rapidly. For example, the once-current acclaim for Tarantino's "genius" in making visual references to other movies.

The true value of poetics lies in the terms Aristotle introduced to define and discuss drama, but this book doesn't really function as an excellent dictionary for that.

Perhaps this book could be of some assistance to an early high school student attempting to gain a basic understanding of both topics. However, it would be far more beneficial to simply have them study the poetics again and provide them with a reference book like Syd Field's Screenplay. This way, they can gain a more in-depth and accurate understanding of the essential elements of screenwriting and drama.

For those who are interested in screenwriting, it is not just enough but necessary.

Screenwriting is an art form that requires creativity, imagination, and a deep understanding of storytelling. It is not simply about putting words on paper; it is about creating a world that audiences can immerse themselves in and characters that they can care about.

To be a successful screenwriter, one must be willing to put in the time and effort to learn the craft. This includes reading and analyzing great screenplays, taking classes, and getting feedback from others.

In addition, screenwriters must also be able to handle rejection and criticism. The road to success in screenwriting is often long and difficult, but for those who are passionate about it, it can be a rewarding and fulfilling journey.

So, if you are interested in screenwriting, don't just think about it - take action and start learning today.

The story demands a rewrite and expansion. It requires us to take the existing article and transform it into a more detailed and engaging piece.

We need to add more information, perhaps by elaborating on the main points, providing examples, or adding descriptions.

This will make the story more vivid and interesting for the readers.

By expanding the article to 300 words, we can explore the topic more deeply and give the readers a better understanding of the story.

It is important to maintain the coherence and flow of the story while adding the new content.

We should also make sure that the language is clear and easy to understand.

With these considerations in mind, we can begin the rewrite and expansion process to create a more compelling story.

Fantastic! I have read it twice.

The analysis is solid, and the chapters are simple, yet solid and straightforward.

This work can be extremely beneficial for various fields such as screenwriting, fiction writing, playwriting, and even songwriting.

For screenwriters, it provides valuable insights into structuring a story, developing characters, and creating engaging dialogue.

Fiction writers can draw inspiration from the clear and concise writing style, as well as the effective use of plot and conflict.

Playwrights will appreciate the emphasis on stagecraft and the ability to bring a story to life on the stage.

Even songwriters can find useful tips on crafting lyrics that tell a story and evoke emotions.

In conclusion, this is a great resource for anyone interested in the art of writing.

This book is yet another "mixed bag".

The author demonstrates remarkable proficiency in summarizing Aristotle's aesthetic principles of unity and elaborating on how "Rocky" serves as an under-appreciated illustration of some of these principles. However, he encounters difficulties when attempting to showcase how other films purportedly apply them. Moreover, he frequently neglects to credit the screenwriters (including Sylvester Stallone) by name. The exceptions, it seems, neither merit nor require his attention or praise.

In my opinion, his comprehension of Aristotle's concepts regarding comedy is both incomplete and speculative. Additionally, he fails to clarify that Aristotle's intended meaning of "comedy" differs from what is commonly understood today.

Overall, while the book has its strengths in certain aspects, it also has notable shortcomings that prevent it from being a fully comprehensive and accurate exploration of the subject matter.

If you haven't read the book "Poetics", or if you have read it but couldn't establish a connection with it, I recommend reading this book.

The author, in his thirties, teaches us how to write a standard and engaging screenplay (story) using the techniques and viewpoints of Aristotle.

The author provides examples from films to clarify the topics under discussion and simplifies Aristotle's conversations using these films.

In my opinion, for a better understanding and complete learning, the book should be studied several times and one should engage in writing based on the points it makes.

The translation of the book was also very smooth and excellent.

It is an inherent part of our human nature to not only learn from but also take pleasure in imitative works of art. In this particular excerpt, it appeared that delving deeper into the art of creating stories was a rational and logical next step.

As an introduction that progresses step by step and is an easy read, albeit with a touch of cringe, this book served its purpose quite well. It provided a foundation for those interested in exploring the realm of story creation. The step-by-step approach made it accessible even to those who were new to the subject. However, the presence of a slight cringe factor might have been a drawback for some readers. Nevertheless, overall, it was a decent starting point for anyone looking to gain more knowledge and understanding about the art of storytelling.

Perhaps with further refinement and improvement, this book could become an even more valuable resource in the field of creative writing.

Great book! It was recommended reading for my Storytelling Strategies class at NYU. Even though I don't plan to go into screenwriting, it's still a very good book if you want to understand what makes a film or story work.

There are a couple of cheesy jokes and puns thrown in there, but that's okay. The films that are used as examples are really good too. They help to illustrate the concepts clearly.

However, there is a lot of repetition in the book. That's my only complaint. But overall, it's a useful resource. I decided to keep it after the class was done because I think it will probably be useful in the future. Maybe not for screenwriting specifically, but for understanding the principles of good storytelling in general.

I would recommend this book to anyone who is interested in learning about how to tell a good story, whether it's for film, TV, or any other medium. It's an easy read and has some valuable insights.

An amazing preface to read Aristotle's Poetics offers a captivating journey into the world of understanding how scripts and stories work. Aristotle's Poetics is a seminal work that has had a profound influence on the field of literature and drama. Reading the preface provides valuable insights into the author's intentions and the context in which the work was written.

It allows readers to gain a better understanding of the key concepts and theories presented in the Poetics. By exploring how scripts and stories are constructed, we can appreciate the artistry and craftsmanship involved in creating engaging and meaningful works of literature and drama. The preface also serves as a guide, helping readers navigate through the complex ideas and arguments put forth by Aristotle.

Overall, reading the preface to Aristotle's Poetics is an essential step in unlocking the secrets of great storytelling and enhancing our appreciation for the power of literature and drama.

The book was interesting, in terms of examining Aristotle's "poetics" and its application in modern screenwriting.

Aristotle's poetics has been, for a long time, one of the traditional references for Western writers and expresses the general rules of a good tradition. This book explains that even now, many of these rules are still adhered to in Hollywood films to lead the viewers to "catharsis".

In general, it was a good book, provided that you are interested in writing and how to write, and especially in reading Aristotle's poetics. For me, who has not yet managed to read poetics, it was interesting.

If when I was reading this, I had put it down and read something else, something like a Hollywood screenwriting guide for dummies that was probably written just so the author could get a better position in Hollywood, wouldn't it have been better?

If when I reached the second chapter and saw its cheesy jokes, I had thrown the book away and in the midst of the social circle where everyone asks what it's about, I had just said nothing, wouldn't it have been better?

If I burned all the books in one go, wouldn't it be better?

_________________________

Putting the whole text aside, when the word "dialectic" is used in a certain way, it's expressed as if no reader has ever heard it before. Note that the readers are those who are going to become screenwriters in Hollywood. At this point, I put the book aside for a few minutes and thought.

I thought how wonderful it is to have a land where its people haven't even heard of dialectic. I remembered that even in the most ordinary situations, we have to proclaim our Hegelianism. In a taxi, depending on whether we think subjectively or give different analytical fares, even we who have no connection to philosophy, in our ordinary conversations, talk about phenomenology.

If I burned all the books in one go, wouldn't it be better?

A thin book that briskly summarizes some of Aristotle's key points regarding the writing of dramas for screenplays. At its core, there is a crucial message:始终将故事核心聚焦，仅在能够推动观众通过该核心时添加动作和场景（逻辑紧密，避免离题和吸引人的弯路），以及有关人物塑造和情节构思的选择建议。

The author employs references to numerous movies to enhance Aristotle's teachings with some connections to modern examples. Tierno's style and structure imply that he would be an engaging and informative presenter of this material in a training environment.

For instance, when discussing characterizations, the author might mention how a particular movie successfully developed its characters in a way that adhered to Aristotle's principles. This not only helps the reader better understand Aristotle's ideas but also shows how they can be applied in contemporary screenwriting.

Overall, this book offers a concise yet valuable exploration of Aristotle's theories on writing dramas for screenplays, with practical examples and a structure that makes it suitable for use in a training context.