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A guide to understanding the major genres of the story world by the legendary writing teacher and author of The Anatomy of Story, John Truby.Most people think genres are simply categories on Netflix or Amazon that provide a helpful guide to making entertainment choices. Most people are wrong. Genre stories aren’t just a small subset of the films, video games, TV shows, and books that people consume. They are the all-stars of the entertainment world, comprising the vast majority of popular stories worldwide. That’s why businesses―movie studios, production companies, video game studios, and publishing houses―buy and sell them. Writers who want to succeed professionally must write the stories these businesses want to buy. Simply put, the storytelling game is won by mastering the structure of genres.The Anatomy of Genres: How Story Forms Explain the Way the World Works is the legendary writing teacher John Truby’s step-by-step guide to understanding and using the basic building blocks of the story world. He details the three ironclad rules of successful genre writing, and analyzes more than a dozen major genres and the essential plot events, or “beats,” that define each of them. As he shows, the ability to combine these beats in the right way is what separates stories that sell from those that don’t. Truby also reveals how a single story can combine elements of different genres, and how the best writers use this technique to craft unforgettable stories that stand out from the crowd.Just as Truby’s first book, The Anatomy of Story, changed the way writers develop stories, The Anatomy of Genres will enhance their quality and expand the impact they have on the world.

The long and tortured career of Ira B. Arnstein, "the unrivaled king of copyright infringement plaintiffs," opens a curious window into the evolution of copyright law in the United States. As Gary A. Rosen shows in this frequently funny and always entertaining history, the litigious Arnstein was a trenchant observer and most improbable participant in the transformation of not just copyright, but of American popular music itself. A musical prodigy in the late nineteenth century, Arnstein performed as a boy soprano at the famous 1893 "White City" exhibition in Chicago. He grew up to be a composer of moderate accomplishment, but by the mid-1920s his fortunes had reversed in the face of changing tastes and times. Embittered and confused, he became convinced that he was the victim of a conspiracy to steal his music and set out on a three-decade-long campaign to prove it, suing most of the major players in the popular music industry of his day. Although Arnstein never won a case, Rosen shows that the decisions rendered ultimately defined some of the basic parameters of copyright law. His most consequential case, against a dumbfounded Cole Porter, established precedents that have provided the foundation for successful suits against George Harrison, Michael Bolton, and many others. Unfair to Genius alternates the stories of Arnstein and a colorful cast of supporting characters with a fascinating account of the economic, technological, and legal forces of the first half of the twentieth century that shifted the balance of power from the mercenary music publishers of Tin Pan Alley to the composers and lyricists who wrote the Great American Songbook.

In this eloquent, intimate exploration of the delights and demands of the piano, world-renowned concert pianist and music writer Charles Rosen draws on a lifetime's wisdom to consider every aspect of the instrument- from what makes a beautiful sound to suffering from stage fright, from the physical challenges of playing to tales of great musicians, including Vladimir Horowitz's recording tricks, Rachmaninov's hands and why Artur Rubenstein applied hairspray to the keys. Gracefully blending anecdote, history, expertise and memoir, Piano Notes will enchant anyone with a passion for music.

In the 1940s, American movies changed. Flashbacks began to be used in outrageous, unpredictable ways. Soundtracks flaunted voice-over commentary, and characters might pivot from a scene to address the viewer. Incidents were replayed from different characters' viewpoints, and sometimes those versions proved to be false. Films now plunged viewers into characters' memories, dreams, and hallucinations. Some films didn't have protagonists, while others centered on anti-heroes or psychopaths. Women might be on the verge of madness, and neurotic heroes lurched into violent confrontations. Combining many of these ingredients, a new genre emerged--the psychological thriller, populated by women in peril and innocent bystanders targeted for death. If this sounds like today's cinema, that's because it is. In Reinventing Hollywood, David Bordwell examines for the first time the full range and depth of trends that crystallized into traditions. He shows how the Christopher Nolans and Quentin Tarantinos of today owe an immense debt to the dynamic, occasionally delirious narrative experiments of the Forties. With verve and wit, Bordwell examines how a booming movie market during World War II allowed ambitious writers and directors to push narrative boundaries. Although those experiments are usually credited to the influence of Citizen Kane, Bordwell shows that similar impulses had begun in the late 1930s in radio, fiction, and theatre before migrating to film. And despite the postwar recession in the industry, the momentum for innovation continued. Some of the boldest films of the era came in the late forties and early fifties, as filmmakers sought to outdo their peers. Through in-depth analyses of films both famous and virtually unknown, from Our Town and All About Eve to Swell Guy and The Guilt of Janet Ames, Bordwell assesses the era's unique achievements and its legacy for future filmmakers. The result is a groundbreaking study of how Hollywood storytelling became a more complex art. Reinventing Hollywood is essential reading for all lovers of popular cinema. --

Sanford Meisner was one of the best known and beloved teachers of acting in the country. This book follows one of his acting classes for fifteen months, beginning with the most rudimentary exercises and ending with affecting and polished scenes from contemporary American plays. Written in collaboration with Dennis Longwell, it is essential reading for beginning and professional actors alike. Throughout these pages Meisner is a delight—always empathizing with his students and urging them onward, provoking emotion, laughter, and growing technical mastery from his charges.With an introduction by Sydney Pollack, director of Out of Africa and Tootsie, who worked with Meisner for five years."This book should be read by anyone who wants to act or even appreciate what acting involves. Like Meisner's way of teaching, it is the straight goods."—Arthur Miller"If there is a key to good acting, this one is it, above all others. Actors, young and not so young, will find inspiration and excitement in this book."—Gregory Peck

From bestselling and award-winning author and professor Elizabeth McCracken comes an irresistible look at the art of writing. Writing can feel like an endless series of decisions. How does one face the blank page? Move a character around a room? Deal with time? Undertake revision? The good and bad news is that in fiction writing, there are no definitive answers to such questions: writers must come up with their own. Elizabeth McCracken, author of bestselling novels, National Book Award long-listed story collections, and a highly praised memoir, has been teaching for more than thirty-five years, guiding her many students through their own answers. In A Long Game, she shares insights gleaned along the way, offering practical tips and incisive thoughts about her own work as an artist. Writing "is a long game," she notes. "What matters is that you learn to get work done in the way that is possible for you, through consistency or panic. Through self-recrimination or self-delusion or self-forgiveness: every life needs all three." As much a book about the life of a working artist as it is a guide to thinking about fiction, A Long Game is a revelatory and indispensable resource for any writer.

Why chance remains a key strategy in artists' investigations into the contemporary world.The chance situation or random event—whether as a strategy or as a subject of investigation—has been central to many artists' practices across a multiplicity of forms, including expressionism, automatism, the readymade, collage, surrealist and conceptual photography, fluxus event scores, film, audio and video, performance, and participatory artworks. But why—a century after Dada and Surrealism's first systematic enquiries—does chance remain a key strategy in artists' investigations into the contemporary world? The writings in this anthology examine the gap between intention and outcome, showing it to be crucial to the meaning of chance in art. The book provides a new critical context for chance procedures in art since 1900 and aims to answer such questions as why artists deliberately set up such a gap in their practice; what new possibilities this suggests; and why the viewer finds the art so engaging.Artists surveyed include Vito Acconci, Bas Jan Ader, Francis Alÿs, William Anastasi, John Baldessari, Walead Beshty, Mark Boyle, George Brecht, Marcel Broodthaers, John Cage, Sophie Calle, Tacita Dean, Stan Douglas, Marcel Duchamp, Brian Eno, Fischli & Weiss, Ceal Floyer, Huang Yong Ping, Douglas Huebler, Allan Kaprow, Alison Knowles, Jiri Kovanda, Jorge Macchi, Christian Marclay, Cildo Meireles, Robert Morris, Bruce Nauman, Yoko Ono, Gabriel Orozco, Cornelia Parker, Robert Rauschenberg, Gerhard Richter, Daniel Spoerri, Wolfgang Tillmans, Keith Tyson, Jennifer West, Ceryth Wyn Evans, La Monte Young Writers include Paul Auster, Jacquelynn Baas, Georges Bataille, Daniel Birnbaum, Claire Bishop, Guy Brett, Benjamin H. D. Buchloh, Stanley Cavell, Lynne Cooke, Fei Dawei, Gilles Deleuze, Anna Dezeuze, Russell Ferguson, Branden W. Joseph, Siegfried Kracauer, Jacques Lacan, Susan Laxton, Sarat Maharaj, Midori Matsui, John Miller, Alexandra Munroe, Gabriel Pérez Barreiro, Jasia Reichardt, Julia Robinson, Eric L. Santner, Sarah Valdez, Katharina Vossenkuhl

Pete the Cat’s guide to living a groovy life!Everyone's favorite cat shares his favorite inspirational and feel-good quotes in Pete the Cat's Groovy Guide to Life.Pete's glass-half-full outlook on life shines through as he adds his fun take on well-known classics attributed to luminaries from Albert Einstein to Confucius to Abraham Lincoln to Shakespeare and more!Fans of Pete the Cat will delight in this amusing look at quotes that are accompanied by Pete's witty responses and Pete illustrations by New York Times bestselling artist James Dean.

French critic and composer Michel Chion argues that watching movies is more than just a visual exercise--it enacts a process of audio-viewing. The audiovisual makes use of a wealth of tropes, devices, techniques, and effects that convert multiple sensations into image and sound, therefore rendering, instead of reproducing, the world through cinema. The first half of Film, a Sound Art considers developments in technology, aesthetic trends, and individual artistic style that recast the history of film as the evolution of a truly audiovisual language. The second half explores the intersection of auditory and visual realms. With restless inventiveness, Chion develops a rhetoric that describes the effects of audio-visual combinations, forcing us to rethink sound film. He claims, for example, that the silent era (which he terms "deaf cinema") did not end with the advent of sound technology but continues to function underneath and within later films. Expanding our appreciation of cinematic experiences ranging from Dolby multitrack in action films and the eerie tricycle of Stanley Kubrick's The Shining to the way actors from different nations use their voices and words, Film, a Sound Art showcases the vast knowledge and innovative thinking of a major theorist.

Offering insights into the creative processes involved in being a screenwriter, this volume provides first-hand accounts of the industry from a group of 13 screenwriters. Their experiences are illustrated with script excerpts, hand-written notes, storyboards, film stills, and photographs.