Only VIP members have access to this exclusive webinar library. Click here to subscribe to a VIP plan.
Allen James Roughton is the Stage 32 Script Services Coordinator, a screenwriter, reader and development researcher who has consulted on over 100 projects, scripts, books, comics and films and conducted research on life stories, exposés, professions and locations for development at major production companies. Full Bio »
Great Characters should have Great Introductions. Join us as we breakdown how characters are introduced in features and TV scripts including Star Wars, Fargo, The Good Place, Mad Men, Pirates of the Caribbean, and Arrested Development.
Can you use long dialogue blocks effectively? Sure you can! We'll break down the rousing sales rally in THE WOLF OF WALL STREET, the chilling call in TAKEN, the desperate video message in "Breaking Bad", and the moving speech from HIDDEN FIGURES.
We take a look at how writers use cutaways to drive home punchlines in Family Guy and Brooklyn Nine-Nine, explain big ideas in The Big Short, give historical context in Narcos, and frame stories in The Princess Bride.
We take a look at how writers put together montages to explain complex plots in V for Vendetta, makeover a character in Crazy, Stupid Love, bring levity and character to the dark comedy of Groundhog Day, make working out interesting in Rocky, drive home a theme in The Godfather, and tell us an entire, moving prequel in Up.
There's a fine line between introducing a writer to a new world or ruleset and spouting exposition. We’ll break down how writers created the fantasy world of “Game of Thrones”, the frigid winter of WIND RIVER, the digital dystopia of THE MATRIX, and the 1919 England of "Peaky Blinders".
Show, don't tell! We take a look at how screenwriters use silence in the horror film A QUIET PLACE, the caper film THE DEPARTED, the action-drama DRIVE, and the adventure of LORD OF THE RINGS.
Writers can't rely on jump-scares and creepy music, so how do screenwriters create tension on the page? We'll take a look at needling suspense of THE BABADOOK, the tension just below the surface in GET OUT, the apocalyptic horror of “The Walking Dead”, and the creeps and chills of IT.