Three books always come up on "must read" lists for aspiring screenwriters. They are Aristotle's POETICS, Lajos Egri's THE ART OF DRAMATIC WRITING (1946), and William Goldman's ADVENTURES IN THE SCREEN TRADE.

     Quite a prestigious group for Mr. Goldman to be included in? Not at all! With award-winning scripts such as BUTCH CASSIDY AND THE SUNDANCE KID, ALL THE PRESIDENT'S MEN, THE PRINCESS BRIDE (adapted from his own work), and MISERY among others under his belt, it can be argued that his efforts are true screenwriting gold.

     In the aforementioned book, he shares his experiences with the various aspects of Hollywood. His invaluable insights, though written in 1982, still hold pertinence as we head into the next century.

     Starting off with his humble beginnings as a New York writer and editor, Goldman explains how a chance writing assignment for Cliff Robertson started him on the road to his first Hollywood film, HARPER. The chapter about writing this Paul Newman-header should be mandatory reading for all film students, as it explains why movies are a visual medium and the importance of character definition. This is achieved through an entertaining, not preaching form, which is characteristic of all 585 pages of ADVENTURES.

     When others have found cracking this book daunting, I've had them read just the HARPER section. In every case, it's lead them to read the rest of the book.

     Goldman also relates the merits and minuses of agents, directors and actors among other industry professionals. This clears up a lot of confusion about how the Hollywood machine works, and why codependence is necessary while not logical. Example: producer's reliance on stars will never change. To quote, "the knowledge of their eventual decapitation is central to the life of a studio executive." So, without any true creativity under their belts, they turn to the only money-making constant in their god's celestial heaven: top actors. Once established, performers may have some down years. Betting on their getting back on top is one of the more sure gambles studio personnel can eventually bank on. And thus a name attached to a project will move it towards lensing.

     Through observations, the author also proves himself accurate with a few predictions. Without a crystal ball, Goldman notes how "by the end of the eighties,... we'll be looking back on the good old days... when HEAVEN'S GATE was a cheapie." For younger people, compare this to the hundred-and-forty million flop WILD WILD WEST.

     In discussing movie maker's "ecology," he more than hints at the ever-growing number of "comic book" films. These are defined as predictable formula concepts that sacrifice richer stories for spectacle elements. He quotes a studio head as saying that out of sixteen projects okayed, "the last three I have hope for." These were the scripts that dared going beyond good guys winning and bad guys getting theirs; that took deeper looks at the condition of humanity. Goldman goes on by saying, "Those "last three" aren't being made anymore." And that's been the case - till just recently.

     He mentions that executives will say they'll shift back to serious endeavors "when the public demands it." John Q Public seems to be speaking.

     With the success of low-budget and independent works like AMERICAN BEAUTY, BEING JOHN MALKOVICH and, arguable either way, SIXTH SENSE

(recently ignored by the National Board of Review since it made money), a shift is at hand. There will always be well-met comic book movies like ET, that reaches a little deeper into our emotions, and Blair witches that scare us with a simple "what if." But we need Bette Davis to warn us of her up-and-coming bumpy night, and then to watch her learn to ride it since the problems entailed with aging will never go away. And we need Shakespeare to let his heroes win the girl even though he doesn't, and create heroines in an age where women weren't allowed on the stage.

     Readers won't agree with everything William Goldman has to say, and a few future predictions were way off mark. His description of PSYCHO's ending as being a let down, with five of seven minutes taken up with a shrink delivering Freud may be right, though I don't remember that. I do remember Norman's mother self speaking in his mind as a voice-over. This and the exposition at end added to the creepy feeling I was left with, and created the thought that even the seemingly normal boy next door could come over and knife me in the shower.

     He also mentions that the studios thought HBO would save them with purchasing films and financing pictures. He does disclaim, "I have no idea as to its eventual accuracy." Reality: HBO went straight to production companies and gouged studios in purchase agreements thanks to their own show of desperation. In 1982, he didn't discuss the rising video arena. Funny how the studios thought video would be their final death and it became their savior, increasing interest in movies as worth-while entertainment.

     Goldman's summary is straight-forward: money doesn't make a movie; talent does. 1999 is proving him right. I'm happy to report that he has a follow-up to ADVENTURES coming out from Pantheon Books in March of 2000. It's aptly titled WHICH LIE DID I TELL?, OR MORE ADVENTURES IN THE SCREEN TRADE. My bet is readers should check out this first installment before venturing into the continuing saga, which should prove another mandatory text.

     William Goldman is also following up on a past successful collaboration with director Rob Reiner. He's adapting Stephen King's HEARTS IN ATLANTIS for him. In an industry where ageism is a constant fear, Mr. Goldman's writing talent won't be tarnished from lack of use anytime soon.

Mary Gilbert-Bray is a column journalist who had an editor give her a Christmas gift of a screenplay format book with the inscription, "You're a good storyteller; you should try this." Besides currently attempting spec scripts, she's turning an eight article series into The Hunting Widow's Guidebook (humor), has two nonfiction works due later this year on AD/HD and its effect on families and history, and will have a short story, Unbroken Hearts, in a fall issue of ATTENTION! Magazine.