Introduction to the world of script

1

An introduction centered around the method and approach to exploring script writing in this course, the fundamentals of creative writing and key writing tips, as well as reflections and exercises on how to focus an idea from ‘big theme’ to story.

Storytelling fundamentals

2

The first question directors, producers and actors ask is: What’s the story? So in the second session we'll talk about idea generation and focus on the fundamentals of storytelling. Then, we'll explore the hero’s journey and the archetypal plots.

Building great characters

3

Action emerges through character and character emerges through action. Characters also learn something about themselves – they develop: a character arc. So in this session we'll cover crucial elements like character roles, depth of character, developing characters and many useful things to think about.

What makes a good scene?

4

Scenes are the fundamental building blocks of every script. And they often work differently in different mediums – e. g. there are types of scenes which are easier to do in film or TV than they are in theater. So in this session we'll focus heavily on understanding the importance of scenes, how to write great scenes, and, of course, dialogue.

Writing for theater

5

Theater writing isn't so different from other forms of script writing – but it’s live, which creates unique opportunities, as well as difficulties… A theater play happens in the audience’s imagination as much as on stage. Some writers see this as losing ‘control’ – but also liberating.

Standing on these concepts, we'll venture into the vast possibilities of theater.

Writing for radio

6

Radio plays are possibly the most under-estimated form… No visuals! But that’s its great strength: it can do absolutely anything. It’s also relatively cheap to produce and can even be DIY.

So it's no surprise that this is often the ‘way in’ for new writers – from radio to TV and film (and/or stage).

Writing for TV

7

TV is currently going through a writing ‘boom’ – ever since ‘The Wire’ and ‘Breaking Bad’. So there’s a focus on strong new writing.

As with theater and radio – all the overall points about character, story, scenes, dialogue, action apply. But TV is a usually pre-recorded visual medium, which allows for some extra resources – e. g. ‘showing’ simultaneous actions.

Writing for film

8

Arguably the biggest canvas with the most opportunities for writers to let imaginations go. So again key tip is to understand the medium and its possibilities – genres and formats – inside out. This is one the key topics we'll cover in this session.

And be prepared to put in a lot of work! Like writing a novel – only harder because there’s more to think about.

Revising and polishing your work

9

Everyone revises. Revising is not a negative ‘correction’ process: it’s part of the creative process – and we’re doing it all the time, sometimes consciously, sometimes subconsciously.

And, as said at beginning: don’t try to write the last draft first – you’ll get writer’s block.

Writing as a career

10

The bad news: it’s intensely competitive out there – and in some ways having an idea and writing a script are the easy parts. Getting that idea off the page and onto the stage or screen are the difficult bits.

The good news: it's possible – and you can do it step by step, e. g. by going through the various R&D processes in session 9.