Armer, Alan A. (1993²), Writing the screenplay. TV and Film, Belmont, Wadsworth Publishing Company.

Atchity, Kenneth; Wong, Chi-Li (1997), Writing Treatments that Sell. How to Create and Market Your Story Ideas to the Motion Picture and TV Industry, New York, Henry Holt & Co.

Beerten, Luc, e.a. (s.d.), De kleine Scenario Syllabus. Enkele wenken voor het schrijven van fictie scenario’s voor televisie. Voor Beginners!, Antwerpen, Brussel, ACV Cultuur, DAKAB v.z.w.

Ballon, Rachel F. (1994), Blueprint for Writing. A Writer’s Guide to Creativity, Craft & Career, Los Angeles, Lowell House.

Berger, A.A. (1991), Scripts. Writing for Radio and Television, London, Sage Publ.

Blacker, I.R. (1986), The Elements of Screenwriting. A Guide for Film and Television Writing, London, Collier Macmillan Publishers.

Brady, Ben; Lee, Lance (1988), The Understructure of Writing for Film & Television, Austin, University of Texas Press.

Brady, John (1981), The Craft of the Screenwriter, New York, Simon and Schuster.

Brenes, Carmen Sofia, Cattrysse Patrick and Margaret McVeigh (2017) (eds.), Transcultural Screenwriting: Telling Stories for a Global World, London, Cambridge Scholars Publishing.

Brenner, Alfred (1986), The T.V. Scriptwriter’s Handbook, Cincinnati, Ohio, Writer’s Digest.

Bronfeld, S. (1986), Writing for Film and Television, New York, Simon & Schuster.

Blum, R.A. (1984), Television Writing. From Concept to Contract, London, Focal Press.

Campbell, Joseph (1972²), The Hero witht a Thousand Faces, Princeton N.J., Princeton University Press.

Card, Orson S. (1999), Characters and Viewpoint, Cincinnati Ohio, Writer’s Digest Books.

Cattrysse, Patrick (2004), Handboek Scenarioschrijven, Leuven-Apeldoorn, Garant Uitgevers.

Cattrysse, Patrick (2003), “Training in Scriptwriting”, in ScriptWriter (9:48-53).

Cattrysse, Patrick (2010), ‘The Protagonist’s dramatic goals, wants and needs ‘, in The Journal of Screenwriting 1(1):80-94.

Cattrysse, Patrick (2014), Descriptive Adaptation Studies. Epistemological and Methodological Issues, Antwerpen, Garant Publishers.

Chiarella, Tom (1998), Writing Dialogue. How to Create Memorable Voices and Fictional Conversations that Crackle with Wit, Tension and Nuance, Cincinnati, Ohio, Story Press.

Cowgill, Linda J. (1997), Writing Short Films: Structure and Content for Screenwriters, Los Angeles, Lone Eagle.

Cowgill, Linda J. (1999), Secrets of Screenplay Structure. How to Regonize and Emulate the Structural Frameworks of Great Films, Los Angeles, Lone Eagle.

Dancyger, K.; Rush, J. (1991), Alternative Scriptwriting. Writing beyond the Rules, London, Focal Press.

Davis, Rib (1998), Writing Dialogue for Scripts, London, A & C Black.

Dimaggio, Madeline (1990), How to Write for Television, New York, Simon & Schuster.

Egri, Lajos (1960), The Art of Dramatic Writing. Its Basis in the Creative Interpretation of Human Motives, London, Simon & Schuster, A Touchstone Book.

Egri, Lajos (1995), The Art of Creative Writing, Chicago, Carol Publishing.

Feldman, Simón (2000), Guión argumental. Guión documental (Multimedia Cine), Barcelona, Gedisa editorial.

Field, Stanley (1958), Television and Radio Writing, Cambridge MA, Univ. Press.

Field, Syd (1994), Four Screenplays. Studies in the American Screenplay, New York, Dell Publishing Co.

Field, Syd (1984a), Screenplay. The Foundations of Screenwriting. A Step-by-step Guide from Concept to Finished Script, New York, Dell Publishing Co.

Field, Syd (1984b), The Screenwriter’s Workbook. Exercises and Step-by-step Instruction for Creating a Successful Screenplay, New York, Dell Publishing Co.

Frensham, Raymond G. (1996), Screenwriting, (Teach Yourself Series), London, Hodder & Stoughton.

Froug, William (1993), Screenwriting. Tricks of the Trade, Los Angeles, Silman-James Press.

Gassner, J; Nichols, Dudley (eds.) (1946), Best Film Plays – 1945, New York, Crown Publishers.

Grant, E. (1990), Writing for Corporate Video, London, Focal Press.

Halperin, Michael (1996), Writing Great Characters, Los Angeles, Lone Eagle Publishing Co.

Hampe, B. (1993), Video Scriptwriting. How to Write for $4 Billion Commercial Video Market, New York, Plume.

Hauge, Michael (1991), Writing Screenplays that Sell, New York, Harper Perennial.

Helitzer, M. (1987), Comedy Writing Secrets. How to Think Funny, Write Funny, Act Funny, and Get Paid For it, Ohio, Writer’s Digest Books.

Horton, Andrew (1994), Writing the Character-Centered Screenplay, London, Univ. of California Press.

Howard, David, Mabley, Edward (1993), The Tools of Screenwriting. A Writer’s Guide to the Craft and Elements of a Screenplay, Introduction by Frank Daniel, New York, St. Martin’s Griffin.

Hunter, Lew (1993), Lew Hunter’s Screenwriting 434, New York, Perigee Books.

Iglesias, Karl (2006), Writing for Emotional Impact. Advanced dramatic techniques to attract, engage, and fascinate the reader from beginning to end, Studio CIty, Livermore, WingSpan Press.

Indick, William (2004), Psychology for Screenwriters. Building Conflict in Your Script, Studio City, Michael Wiese Productions.

Karetnikova, Inga (1990)), How Scripts Are Made, Carbonsdale and Edwardsville, Southern Illinois University Press.

Keane, Christopher (1998), How to Write a Selling Screenplay, New York, Broadway Books.

King, Viky (1988), How to Write a Movie in 21 Days. The Inner Movie Method, New York, Harper Collins Publishers.

Kosberg, Robert (1991), How to Sell Your Idea to Hollywood, New York, Harper-Collins Publishers.

Kress, Nancy (1998), Dynamic Characters. How to create personalities that keep readers captivated, Cincinnati-Ohio, Writer’s Digest Books.

Kümel, Harry, e.a. (1985), Scenariocursus gegeven door John W. Bloch, William Fadiman en Lois Peyser, s.n., Belgische Vereniging van Film- en Televisie-Auteurs.

Lawson, John Howard (1949), The Theory and Technique of Playwriting and Screenwriting, New York, G.P. Putnam’s.

McKee, Robert (1997), Story. Substance, Structure, Style, and The Principles of Screenwriting, New York, Regon Books, Harper Collins Publishers.

Mehring, Margaret (1990), The Screenplay. A Blend of Film Form and Content, London, Focal Press.

Miller, William (1990), Screenwriting for Narrative Film and Television, Athens, Ohio, Hastings House.

Miller, William (1998), Screenwriting for Film and Television, Boston, Allyn and Bacon.

Most, Jacob (1997³), Así se crean Guiones. Cómo redactar guiones, de forma práctica y profesional, para cine, televisión, radio, comics y publicidad, Barcelona, Rosal Jai editorial.

Nash, Constance; Oaky, Virginia (1978), The Screenwriter’s handbook. Writing for the Movies. What to Write. How to Write it. Where to sell it, New York, Harper Perennial.

Noble, June; Noble, William (1985), Steal this Plot. A Writer’s Guide to Story Structure and Plagiarism, Middlebury, Paul S. Eriksson.

Noble, William (1987), “Shut Up!” He Explained..A Writer’s Guide to the Uses and Misuese of Dialogue, Middlebury, Paul S. Eriksson.

Onaindia, Mario (1996), El Guión clásico de Hollywood (Paidós Papeles de Comunicación 16), Barcelona, Paidós.

Packard, William (1987), The Art of Screenwriting. Story * Script * Markets, New York, Paragon House.

Palmer, Linda (1998), How to Write It, How to Sell It. Everything a Screenwriter Needs to Know about Hollywood, New York, St. Martin’s Griffin.

Parker, Philip (1998), The Art and Science of Screenwriting, Exeter, Intellect Ltd.

Perret, G. (1990), Comedy Writing Step by Step. How to Write and Sell Your Sense of Humor, Hollywood, Samuel French.

Pinter, Harold (1991), The Remains of the Day. A screenplay by Harold Pinter, onuitgegeven scriptversie, Columbia Pictures-Filmbank.

Quiquer, Lluís (2001), El Drama de Escribir un Guión Dramático, Barcelona, Plaza y Janès editores.

Root, Wells (1979), Writing the Script. A Practical Guide for Films and Television, New York, Holt & Co.

Sautter, Carl (1992²), How to Sell Your Screenplay. The Real Rules of Film and Television, New York, New Chapter Press.

Saks, Sol (1991²), Funny Business. The Craft of Comedy Writing, Los Angeles, Lone Eagle.

Sánchez-Escalonilla, Antonio (2002²), Estrategias de guión cinematográfico, Barcelona, Editorial Ariel.

Seger, Linda (1992), The Art of Adaptation: Turning Fact and Fiction into Film, New York, Henry Holt & Co.

Seger, Linda (1990), Creating Unforgettable Characters. A practical guide to character development in films, TV series, advertisements, novels & short stories, New York, Henry Holt & Co.

Seger, Linda (1994), Making a Good Script Great. Revised & Expanded Second Edition, Hollywood, Samuel French.

Seger, Linda; Whetmore Edward J. (1994), From Script to Screen. The Collaborative Art of Filmmaking, New York, Henry Holt & Co.

Seger, Linda (1999), Making a Good Writer Great. A Creativity Workbook for Writers, Los Angeles, Silman-James Press.

Smith, Pamela Jaye (2005), Inner Drives. How to Write & Create Characters Using the Eight Classic Centers of Motivation, Studio City, Michael WIese Productions.

Straczynski, J. Michael (1996), The Complete Book of Scriptwriting (Revised and expanded), Cincinnati, Ohio, Writer’s Digest Books.

Swain, Dwight V.; Swain, J.R. (1987), Film Scriptwriting. A Practical Manual, Stoneham, MA, Focal Press.

Swain, Dwight V.; Swain J.R. (1991), Scripting for the New AV-Technologies, London, Focal Press.

Thomas, James (1992), Script Analysis for Actors, Directors, and Designers, London, Focal Press.

Trottier, David (1998³), The Screenwriter’s Bible. A Complete Guide to Writing, Formatting and Selling your Script. (3rd edition, expanded and updated), Los Angeles, Silman-James Press.

Vale, Eugene (1998), Screen and Television Writing. Revised Edition, Boston, Focal Press.

Van Riemsdijk, J. (1989), Basisboek Filmschrijven, Groningen, Wolt.-Noordhoff.

Vogler, Christophe (1992), The Writer’s Journey. Mythic Structure for Storytellers and Screenwriters, Studio City CA, Michael Wiese Productions.

Walter, Richard (1988), Screenwriting. The Art, Craft and Business of Film and Television Writing, Harmondsworth, Penguin Books Ltd.

Williams, Stanley (2006), The Moral Premise. Harnessing Virtue & Vice for Box Office Success, Studio City, Michael Wiese Productions.

Wolff, Jürgen; Cox, Kerry (1991), Succesful Scriptwriting. How to write and pitch winning scripts for movies, sitcoms, soaps, serials and variety shows, Cincinnati, Ohio, Writer’s Digest Books.

Wolff, Jürgen; Cox, Kerry (1993), Top Secrets: Screenwriting, Los Angeles, Lone Eagle


Narratologie en andere

Andringa, Els; van Horssen, Petra; Jacobs, Qstrid; Tan, Ed (2001), Point of View and Viewer Empathy in Film, in Van Peer-Chatman (1996:133-157).

Aristoteles (1995³), Poëtica. Vertaald, ingeleid en van aantekeningen voorzien door N. van der Ben & J.M. Bremer, Amsterdam, Polak & Van Gennep.

Bal, Mieke (1980²), De theorie van vertellen en verhalen, Muiderberg, Coutinho.

Bal, Mieke (1999), Introduction to the Theory of Narrative, London, University of Toronto Press.

Booth, Wayne (1991), The Rhetoric of Fiction. Second Edition, London, Penguin Books.

Bordwell, David (1985a), Narration in the Fiction Film, Wisconsin, University of Wisconsin Press.

Bordwell, David; Staiger, Janet; Thompson, Kristin (1985b), The Classical Hollywood Cinema. Film Style & Mode of Production to 1960, London, Routledge & Kegan Paul.

Bordwell, David; Thompson, Kristin (1986²), Film Art. An Introduction/Second Edition, New York, Alfred A. Knopf.

Bordwell, David; Carroll, Noël (eds.) (1996), Post-Theory. Reconstructing Film Studies, Madison, Wisconsin, University of Wisconsin Press.

Carroll, Noël (2001), On the Narrative Connection, in Van Peer-Chatman (eds.) (2001:21-41).

Cattrysse, Patrick (1992a), “Film (adaptation) as translation. Some methodological proposals”, Target 4(1):53-70.

Cattrysse, Patrick (1992b), Pour une théorie de l’adaptation filmique. Le film noir américain, Bern, Peter Lang.

Cattrysse, Patrick (1994), Pour une approche intersystémique du cinéma, in Müller, e.a. (1994:61-75).

Cattrysse, Patrick (1997), Audiovisual Translation and New Media, in Hodgson-Soukup (1997: 45-67).

Coste, Didier (1989), Narrative as Communication, (Theory and History of Literature 64), Minneapolis, University of Minnesota Press.

Genette, Gérard (1972), Figures III, Paris, Eds. Sueil.

Genette, Gérard (1983), Nouveaux discours du récit, Paris, Eds. du Seuil.

Herman, David (2002), Story Logic. Problems and Possibilities of Narrative, London, University of Nebraska Press.

Herman, Luc; Vervaeck Bart (2002²), Vertelduivels. Handboek verhaalanalyse, Brussel, Vantilt-VUB Press.

Herman, Vimala (1995), Dramatic Discourse. Dialogue as Interaction in Plays, London, Routledge.

Hodgson, Robert Jr.; Soukup, Paul J. (1997) (eds.), From One Medium to Another. Basic Issues for Communicating the Bible in New Media, Kansas City, Sheed & Ward and American Bible Society.

Kearns, Michael (1999), Rhetorical Narratology, London, University of Nebraska Press.

Müller, Jürgen (e.a.) (ed.) (1994), Towards a Pragmatics of the Audiovisual, Münster, Nodus Publikationen.

Neill, Alex (1996), Empathy and (Film) Fiction, in Bordwell-Carroll (1996:175-194).

Prince, Gerald (1982), Narratology. The Form and Function of Narrative, Amsterdam, Mouton.

Todorov, Tzvetan (1971a), Poétique de la Prose, Paris, Eds. du Seuil.

Todorov, Tzvetan (1971b), Typologie du Roman Policier, in Todorov (1971: 55-65).

Trompenaars, Fons (1993), Zakendoen over de grens. Leren omgaan met andere culturen, Amsterdam-Antwerpen, Uitgeverij Contact.

Trompenaars, Fons; Hampden-Turner, Charles (1998²), Riding the Waves of Culture. Understanding Diversity in Global Business, New York, McGraw-Hill.

Turim, Maureen (1989), Flashbacks in Film. Memory and History, London, Routledge.

Van Peer, Willem; Chatman, Seymour (eds.) (1996), New Perspectives on Narrative Perspective, New York, State University of New York Press.


De Vlaamse Script Academie vzw (VSA) organiseert workshops, seminars en onderzoek met het oog op een permanente verbetering van het schrijven en lezen van verhalen.


p/a Dr. Patrick Cattrysse
Raamlolaan 3
B-3120 Tremelo


T: +32 – (0)16/ 29 95 93
M: +32 – (0)478/ 75 45 70

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