Enhanced descriptions from Syndetics:

Editing is what makes a movie a movie. Consulting with master film editors including Walter Murch, Juliette Welfling, Eddie Hamilton, and Anne V. Coates (whose insights and wisdom anchor the book), author Greg Loftin engagingly, smartly details the storytelling nuances and tricks screenwriters can learn from their film-editor peers.Cutting-room veterans have long maintained that visual juxtaposition fuels film storytelling. Over-lapped images spark fresh ideas in the minds of viewers, encouraging them to become active partners in your storytelling and discover your story for themselves.In later chapters, Writing for the Cut shows how we can bring our stories closer to the screen by writing not only with text, but with images and sounds. The screenwriter is taken deep into the edit suite to learn the secrets of the sizzle reel.

Table of contents provided by Syndetics

• Acknowledgments (p. viii)
• About This Book (p. ix)
• Foreword (p. xiii)
• Introduction (p. xv)
• Chapter 1 Studio Exiles (p. 1)
• Are we writing for cinema, or a notion of cinema? How screenwriters lost their memory of filmmaking
• Chapter 2 Jump (p. 4)
• The Kuleshov Effect, and how the cut tells the story: Getting from the word to the moving image
• Chapter 3 Magic (p. 9)
• George Méliès gives us some abracadabra in our very first for-the-cut strategy: the substitution splice
• Chapter 4 Three Axes (p. 15)
• Suggestion, puzzle, and kinesis - three kinds of juxtaposition that can turn a passive viewer into a story partner
• Chapter 5 Suggestion (p. 21)
• Suggestion is a lyrical kind of juxtaposition that invites the audience to add imagination and subtext
• Chapter 6 Puzzle (p. 36)
• We can remove or reorder the jigsaw pieces to draw the audience to find a solution
• Chapter 7 Kinesis ... (p. 53)
• Slicing and dicing time to put movement into our story - the cut creates motion, and the audience adds emotion
• Chapter 8 City of God (p. 75)
• A case study - the opening sequence to a film that captures most of our editing moves
• Chapter 9 Torpedo Boat (p. 91)
• The story so far, arthouse versus mainstream, to cut or not to cut
• Chapter 10 The Lie Detector (p. 101)
• The dark side - the "gap of fit" between word and moving image, and how editing reveals and fixes flaws
• Chapter 11 Writing in the Cutting Room (p. 107)
• Mashup, remix, and previsualization - the screenwriter becomes editor
• Chapter 12 Hatching the Story (p. 115)
• Writing with text, images, and sounds - the cut tells the story, and the cut proves the story
• Chapter 13 Art of the Magpie (p. 122)
• How to make a sizzler
• Chapter 14 Way Station (p. 133)
• Nearly a conclusion
• Postscript (p. 135)
• Further Reading (p. 137)