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February 2008

Rated “Top” Online Screenwriting Class by Screenwriter’s Monthly

Screenwriting 101 is an online class for beginning writers or writers wanting to brush up on the fundamentals. For four weeks you will interact and study under the guidance of your instructor to jump start your writing and hit the ground running. Also, two online LIVE lectures during office hours to help you as you do your assignments and work on your script. (Register below).

The class presents the fundamentals of screenwriting: character development, plot development, structure, conflict, and dialogue. Mainly focused on beginners or anyone who wants to brush up on the fundamentals. Students gain enough knowledge to continue writing their screenplay, start their first screenplay, and finish.

Course Certification?: Yes!, you receive a certification of successful completion!
Course Format: Online & instructor based
Course Length: 4 week(s)
Cost: WAS $200/ Now: $75

For more information and read testimonials or to register:
http://www.4screenwriters.com/screen_101.html

Why take a class? Every year about 50,000 or more screenplays will be registered with the Writers Guild of America and other services. Less than 1,000 will be purchased by Hollywood studios and producers. The competition is fierce. You’re competing with professionals as well as everyone else. Start your screenwriting career (or first screenplay) by taking a professional level class taught by a professional.

Class Breakdown:

Finding the Heart of your story
Plot or Character driven, which is best?
Cause and Effect (Characters and Plot)
Thinking about Characters
Fully fleshed Characters
The Paradigms of a Story
Screenplay Structure
What is Structure and why is it important?
What Structure best suits your Story?
Structure and Genre
Classic Structure: Linear, Journey, Chase, Search
Types of Alternative Narrative Structure
Writing your first ten pages
The Setup: the or else scene
Establishing genre and drama
Connecting the Audience
Case Studies
Looking Ahead towards your Second and Third Acts (setups and payoffs)
Writing the Scene
Types of Scenes
Scene Dialectics
Ins and Outs
Functions
Structures
Sequences

Who is the instructor?

The instructor is Chris Wehner, a published author, journalist, critic and professional screenwriter. He has worked in the field for over 10 years. He was recently Editor-in-Chief and Publisher of Screenwriter’s Monthly and VP of Development for MoviePartners. Currently his screenplay, EL CAMINO, is in development with Area 51 Films in Los Angeles and is scheduled to go into production this year. He recently optioned his latest script, THREESOME, to producer Ted Melfi and is also scheduled to go into pre-production this year. His book, “Screenwriting on the Internet: Researching, Writing & Selling Your Script on the Web” was a Top Seller at The Writer’s Store and his latest book “Who Wrote That Movie?” has received praise as well.

For more information and registration:
http://www.4screenwriters.com/screen_101.html

After a little writing exercise tonight with another writer, we’ve both decided to take on our own 48-Hour Screenwriting Challenge. It’s more of a gentleman’s wager at this point, but we’re both excited about it. The primary purpose is, of course, to see if we can do it. Of course it’s also really fun and exciting. Plus, I know from past experience that it can be done, no matter what some people may tell you about writing a script taking 3 months. This is somewhat similar to the Nanowrimo contest for novelists, but a little more compressed.

I think these kinds of challenges are good and really help a writer test their limits of creativity and imagination. It also helps build trust with another writer. The trick that I learned was to not think of the deadline or the number of pages per hour you’d have to turn out to hit your mark, but rather to put yourself into a bubble of creativity, make the script world your own world for those 2 days. Don’t even think about a mark to hit and you’ll get there. It’s a lot like love: it’ll find you when you’re not looking for it.

That’s not to say this is for everybody. There are many who do work better at a naturally slow pace, who type slowly but methodically. If that’s you, then this challenge won’t work.

I thought I would post it up here just so people can hear about trying something new. It’s informal, with only a few rules right now, but we do have some structure to it.

The rules are very simple right now:

• The challenge will begin at 12:01am on a Saturday. You must stop writing at 12:01am Monday morning, no matter what.
• Scripts must be a between 74 and 120 pages, inclusive.
• Genre of script is decided at officiation time on Friday afternoon by a third party. From that point forward until midnight, the writer may prepare for the screenplay.
• The Officiator will decide each writer’s genre by coin toss to maintain non-bias. If one or both writers cannot be present during officiation (i.e., across the country), presence by phone will suffice.
• Upon completion on Monday, each writer sends their script to the other. The rest of the month will be used to edit each other’s work.

Since this is the first time around, the other writer and I will use the J.R.R. Tolkien and C.S. Lewis challenge: the flip of a coin will decide which genre each writer gets. Heads means I get fantasy, the other writer gets space saga. Tails, I get space saga and he gets fantasy.

I’ll let you know how this turns out come Monday.

You Got Close To Page 60 But… In general, there are many reasons why you “Lost it in the Second Act.”  Let’s focus on the major issues that typically flatten your narrative and your momentum:

• Failure to outline your Dramatic Arc (This I cover in detail and show you where your script is going wrong and pinpoint early warning signs.)
• No exit strategy for your Second Act (I will provide you with specific and proven strategies for properly setting up and getting through your second act.)
• Overt awareness of screenplay structure (Seems like a simple thing but there are ways to manage your narrative and also increase tension and conflict without sacrificing tempo and beat.)
• You took your eye off the ball (Doing more re-writing than writing? I’ll help you avoid this with some helpful tips.)
• Your desire to complete the story wanes (You lost the passion, why? We’ll look at the dynamics of effective story selection and development.)

If you need help with your Second Act, or just finishing your screenplay, click here!

At one time or another, all of us, have been told by those wiser that we should “write visually” as screenwriters. It’s good advice and frankly no self-respecting screenwriter should ever stop thinking visually when writing. But, what exactly does that mean?

I have seen some inexperienced screenwriters take this instruction to heart and after reviewing some of the online screenplays (production drafts) they being to infiltrate their writing with camera angles: POV, CLOSE-UP, ect.

This, alas, is not what is meant by “writing visually.” It’s really more about “thinking visually.” Every scene should be thought out by the screenwriter before it is written.

You should be able to “see” the scene in your mind. Where it takes place, who’s in it, what’s in it, and how these things interact.

But from here I’ve seen inexperienced writers take this too much to heart and litter their prose with needless exposition and details that only serve to slow the story down. Remember, ultimately you have to use words to express what you’re seeing in your own mind. The reader is only going to “see” your scene proportionate to the ability of your writing (descriptions, exposition).

So remember to think visually, but be ready to master the art of translating those thoughts into words as ultimately that is your medium of communication to the reader. Use as few words as possible, use descriptive words and words of action (avoid using words that end in “ing”).

Whenever I need to show my students an example of some good visual writing, I show them the opening scenes from Joe Eszterhas screenplay BASIC INSTINCT.

Note how few words are needed  to create a very visual scene.  Eszterhas has a unique style that also shines through and adds some dimension to the writing. His prose here is excellent and a fine example for how to do it:

              INT. A BEDROOM - NIGHT

              It is dark; we don’t see clearly.

              a man and woman make love on a brass bed.  There are
              mirrors on the walls and ceiling.  On a side table, atop a
              small mirror, lines of cocaine.  A tape deck PLAYS the
              Stones:  “Sympathy for the Devil.”

              Atop him… she straddles his chest… her breasts in his
              face.  He cups her breasts.  She leans down, kisses him…

              JOHNNY BOZ is in his late 40’s, slim, good-looking.  We don’t
              see the woman’s face.  She has long blonde hair.  The CAMERA
              STAYS BEHIND and to the side of them.

              She leans close over his face, her tongue in his mouth…
              she kisses him… she moves her hands up, holds both of his
              arms above his head.

              She moves higher atop him… she reaches to the side of the
              bed… a white silk scarf is in her hand… her hips above
              his face now, moving… slightly, oh-so slightly… his
              face strains towards her.

              The scarf in her hand… she ties his hands with it…
              gently… to the brass bed… his eyes are closed…
              tighter… lowering hips into his face… lower… over his
              chest… his navel.  The SONG plays.

              He is inside her… his head arches back… his throat
              white.

              She arches her back… her hips grind… her breasts are
              high…

              Her back arches back… back… her head tilts back… she
              extends her arms… the right arm comes down suddenly…
              the steel flashes… his throat is white…

              He bucks, writhes, bucks, convulses…

              It flashes up… it flashes down… and up… and down…
              and up… and…

              EXT. A BROWNSTONE IN PACIFIC HEIGHTS - MORNING

              Winter in San Francisco:  cold, foggy.  Cop cars
              everywhere.  The lights play through the thick fog.  Two
              Homicide detectives get out of the car, walk into the
              house.

                                                                     2.

              NICK CURRAN is 42.  Trim, good-looking, a nice suit: a face
              urban, edged, shadowed.  GUS MORAN is 64.  Crew-cut, silver
              beard, a suit rumpled and shiny, a hat out of the 50’s: a
              face worn and ruined:  the face of a backwoods philosopher.

              INT. THE BROWNSTONE

              There’s money here — deco, clean, hip — That looks like a
              Picasso on the wall.  They check it out.

                                  GUS
                        Who was this fuckin’ guy?

                                  NICK
                        Rock and roll, Gus.  Johnny Boz.

                                  GUS
                        I never heard of him.

                                  NICK
                               (grins)
                        Before your time, pop.
                               (a beat)
                        Mid-sixties.  Five or six hits.
                        He’s got a club down in the
                        Fillmore now.

                                  GUS
                        Not now he don’t.

              Past the uniformed guys… nods… waves… past the
              forensic men… past the coroner’s investigators… they
              get to the bedroom.

 ————————–
(C) Chris Wehner is a professional writer and author who teaches screenwriting at the 4 Screenwriters Institute. For more information or to take a class click here.

 Excerpt from http://www.hollywoodscript.com, HOLLYWOODSCRIPT.COM CONTEST-Free MONTHLY contest for clients. Prize: free coverage–guaranteed big industry exposure. 

1. If the story doesn’t work, then the script won’t work. If at any given time, your reader is not wondering, “What’s going to happen next?”–you’ve got a problem.

2. Author Julia Cameron says, “The singular image is what haunts us and becomes art.” Think about that! At last “a place” to put all of your little insights, moments of truth, fascinations and unique experiences that previously lacked a “file.” If you access that “file” while preparing your script and use these hot little tidbits as springboards for scenes, your script is going to be buzzing with honesty and life. This is what audiences crave.

3. There is no such thing as a throwaway or a transitional scene. Scenes should not only add value to the overall story but should also have intrinsic entertainment value as well.

4. Writing a script is relatively easy. The real work is in preparing, building and “arc-ing” out the story and defining the characters. Once the “blueprint” is in place, the writing itself is usually a welcome enterprise. Many writers have trouble being patient enough with this process and it can cost them dearly in the long run.

5. There are many “techniques” for creating and developing characters some of which are effective. However, the single most important thing you can do is to have a strong emotional connection with your character. Intellectual platitudes and techniques are OK, but audiences want characters who are alive. Find your most visceral emotional connections. Don’t settle on a character until you do.

6. The difference between good and great material? SOUL. There are some fabulous technicians out there and some great storytellers too, but the bottom line is the emotional impact of a writer’s work. When a screenwriter’s vision is razor clear and deeply, exactingly rendered, it can have such impact that you the reader feel changed, personally shifted having experienced their art. GREATNESS HAUNTS.

7 “Who is your hero? What is his/her goal? Who or what is preventing her/him from reaching that goal?” (Intense pressure on your hero in an atmosphere of conflict will help keep your story mobile and entertaining).

8. When I’ve written screenplays, it always STARTED WITH WHAT I THOUGHT WAS A GREAT IDEA. Something that gnawed and nagged at me and that I felt needed to be expressed. I was savvy enough after a while to realize that sometimes you can have a great idea that has no business being developed as a screenplay, so I knew it was important to take a good long breath before investing myself in an idea that might take me the better part of the year to fully execute. After determining that it was a go, my approach would be to start collecting “hot” ideas for scenes, character elements, moments, character arcs etc. and just put them “on the board” without giving them continuity and form…yet. This process involves the collection of assets without the pressure of having to do anything else than collect them. Inevitably, these ideas would spawn more ideas, which would then spawn a sense of trajectory and order. At some point when the quiver felt full, I would get into more advanced stages of identifying placement over the acts and giving it all a sense of storytelling. I would avoid writing at all costs, letting the passion to do so percolate while I did my critical spade work. Once I had a fully developed game plan; full stories, a real sense of a beginning, middle, end and scenes that could “write themselves, “I’d happily get into the writing process as if it were my wedding night.

9. Surrender to this fact: writing is rewriting.

10. Before writing anything, you should be able to tell someone the story (and have it worked out so smoothly) that it’s practically ready to “write itself.” 

We’ve got 1 opening for Horror Writing, your instructor is a produced horror writer.  Also, we have 2 openings for Advanced Screenwriting, also by a professional writer. Both classes had a January 15 deadline but have been extended. Finally, a couple of openings for our February Screenwriting 101.