PART ONE: THE FUNDAMENTALS OF SCREENWRITING (8 Sessions)
Week 1 – Introduction, Method, and Screenwriting Basics
The best way to start scriptwriting is to know which format - TV or Film meets a writer's strengths by understanding the history. Knowing the history of a craft grounds the craftsperson in its true intention. We will discuss the differences when writing intense visuals versus dialogue-heavy mediums, character's journey versus development, and finding the path using a unique method I call - "The Spectrum."
- Brief history of film and TV writing
- Script Formatting
- The base elements of a script
- How to plot your character's emotional arch
- Find your Character's journey (using spectrum).
- Q&A
Handouts: How to make your words sing. Learn how and when to use scriptwriting emphasis in dialogue. It's not what you say, and it's how the emphasis is written.
Assignments:
- Setting the world with an Emotional Mapping guide.
- Identify emphasis with page reads from Whiplash and Spotlight
Week 2 – Approaching Story
The adage in storytelling goes, there are two types of story entrances – someone leaving town or someone new to town. This week's class will review the definition of story, choosing the proper arc type to best convey your story, obligatory scenes that are must-haves within specific genres, formats, and styles. As well as tone setting to help guide the story with proper pacing.
- Breaking down Story “STORY = CHARACTER + DESIRE + OBSTACLE”
- Story Arc Types
- Obligatory Arc Beats
- Shaping story based on genre – Obligatory scenes
- Rinse & Repeat: opening image tone setting• Q&A
Handouts: Story Arc Types
Assignments:
- One-page script story starting with the phrase: "If not now, when?"
- We are rewriting your one-page script based on the assigned genre.
Week 3 – Scene Structure
Start early, leave late. Show don't tell. You've heard these, all before but how do you do this, exactly? This week we'll discuss a method I teach on character intentionality. Setting your character's motivation from their action, to dialogue, to what they're not saying. Techniques learned this week will show you how to write characters with meaning – no fluff – no fat.
- Defining character motivation in each Scene.
- Defining setting context to support scenes.
- Handout: Scene Construction
- Exercise: Read, Watch, Identify scene elements.
- PCR method: Scene's Problem, Complication, and Resolution
- Action Lines
- Q&A
Handouts: Scene structure definitions
Assignments:
- Read assigned pages from Gone Girl
- Subtext introduction worksheet.
Week 4 – On The Page: Story Pacing, Dialogue, Your Authentic Voice
Write with style. Remember, this course is about finding your "authentic voice" to best market your script. Good writing is good writing, but sometimes, bad writing gets sold because the writer was authentic to their style of storytelling. We still need properly formatted scripts, but how do you have the reader emoting with your characters? This week we're going to dig into the writer's objectives and character's intentions.
- Dialogue: TV vs. Film, two different histories, two different styles.
- What the heck is story pacing, and how to use it?
- Psychology of Character dialogue.
- Writing succinct action lines.
- Writing tone and style-specific character descriptions.
- Dialogue: Character power shifting.
- Internal vs. External conflict
- Character vs. Scene Emotional intent.
- Q&A
Handouts: How do you lie? - Selecting character traits.
Assignments:
- Subtext Assignments 2, 3.
Week 5 – On The Page: Story Pacing, Dialogue Part 2
Subtext in scriptwriting is defined as a deeper meaning of text – what we see on screen. The visuals, actions, dialogue of a character. The build-up of enigma, obnoxiousness, and intrigue. This week, we'll use the tools we learned from previous weeks PLUS some new techniques to understand how to build a three-dimensional character and the world that supports, denies, and confirms them.
- Subtext methods
- Subtext: Traits of building a human.
- Assignment Due: Opening 5
- In-Class Assignments: Subtext Identification
- 6-steps to Scene Structure.
Assignments:
- Subtext Assignments 4, 5.
- Opening 5 pages.
Week 6 – Let's talk it through…
- One-on-One Consultations.
- Q&A
Assignments:
Week 7 – On The Page: Subtext Part 2
Have you ever watched a film or television that you didn't like just because you wanted to figure that one clue or red herring? Sure, you have. The writer gives meaning to symbols to create suspense, which suspends the audience into watching more. This week, we'll discuss how to write a carefully crafted scene that holds the audience's attention.
- Subtext: Irony, Suspense, and Symbols
- Assignment Due: Opening 10
- Writing Internal vs. External Conflict.
- Q&A
Assignments:
- Opening ten pages – The rewrite.
Week 8 – Effects of Storytelling
The audience continues to read or watch your story because they are engaged. Tension-driven scenes create tension-driven character emotions that do tense acts that create a tense movie with payoff. The payoff comes mainly from the author; "what do you want to say in this film?" Your tools are character, connection, and emotion to communicate your thoughts on any given matter as a screenwriter. Your job is to share the problem that needs to be solved and the character that needs to change to resolve it. How?
- Audience Psychology; when to make them feel what.
- Connect the audience to the character:
- Pity/Feeling Sorry
- Undeserved Misfortune
- Evoke Hope
- Hope Creates Worry
- Create Jeopardy (For Constant Engagement)
Assignment Due:
PART TWO: 4-WEEK SCRIPT ANALYSIS (4 Sessions)
This section will analyze screenwriting methods used in iconic series and landmark films and explore narrative approaches that support character, series engines, and film construction, with a thorough understanding of the three-act structure.
Week 1 and 2 will concentrate on two pilot episodes, one comedy, one drama. Week 3 and 4 will focus on two iconic films.
Week 1 – Introduction, Narrative Approach, Screenwriting Methods, and Techniques.
Know what you're going to do, say what going to do, do it, then do it differently.
- Writer's perspective in viewing the narrative story.
- Screenwriting Methods and Techniques
- Character identity formation and reformation
- Social Perspective
- Dramaturgy
- Character development, themes, and connection to the audience.
- Q&A
Assignments:
- Series Pilot watch and read.
Week 2 – Screenwriting Methods and Techniques when Developing Character
- Analyzing openings that create empathy and connection with the character.
- Analyzing planting and payoff techniques.
- Examine character arc in iconic series.
- Examine the writer's point of view.
- Technique section one: setting breadcrumbs/planting, payoff, and twist.
- Q&A
Assignments:
- Technique mapping exercise.
- Film, watch and read.
- First Test.
Week 3 – Acts, Sequence, and Scenes
- Analyzing scene setups.
- Examining themes.
- Exercise: Scene study – exposition and reveal.
- Technique section two: character arc consistency and public persona reveal.
- Q&A
Week 3 Handout: Scene Construction
Assignments:
- Technique building worksheet
- Film, watch and read.
Week 4 – Character Arc development in Acts, Sequence, and Scenes
- Analyzing assigned film three-act structure.
- Examining audience connection.
- Studying plants and payoff in film (understanding callbacks).
- Course Review.
- Q&A
Second Test.
2-WEEK ASSESSMENT
Over the final two weeks of this course, we will test writers on the basics of act, act breaks, sequence, scenes, and classic teleplay writing techniques.
PART THREE: ASSESSMENT AND CERTIFICATION (2 Sessions)
Over the final two weeks of this course, we will test writers on the basics of act, act breaks, sequence, scenes, and classic teleplay writing techniques.
Week 1: Preparing for Certification
Screenplay basics certification is next week, so let’s sort through any information you may be unclear about - script, character development, story structure… let's work through it all.
Caveat -- we’ll be working on your scripts. We’ll split into two groups; Group A Film focused writers/Group B TV focused writers. As a group, using the script review handouts, each group will assess their individual script (first 10 pages) and work together to address the fixes based on the lessons learned through the course week.
Handout: Practice Assessment
Assignments:
- Complete practice assessment.
- Polish your script.
Week 2: Screenplay Assessment & Certification Test
FILM TRACK (Group A) Week 2 – Screenplay Assessment review.
- Q&A session to review all materials covered over the course.
TV TRACK (Group B) Week 2 – Teleplay Assessment review.
- Q&A session to review all materials covered over the course.
CONCLUSION: MASTER SCREENWRITING CERTIFICATION TEST
Over the course of 14 sessions you will be tested on what you've learned -- After you finish your certification you will earn an exclusive Stage 32 Certificate and Stage 32 will provide you resources to help take your new skills into the professional marketplace, including a career development meeting with an industry professional.
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