The Scriptfella Program Information

RADICALLY IMPROVE YOUR WRITING IN 28 DAYS

Learn to Write For The Hollywood Reader

• Learn how to use language to bewitch industry readers and keep them reading.
• Discover your voice as a writer and use it to get noticed by managers and agents.
• Learn how to cure the biggest disease of amateur screenwriting: overwriting.
• Do away with dull description. Excite the reader with cinematic language, sound design, and imagery.
• Access intensive screenwriting tutorials that will help you improve the marketability and readability of all your scripts – past, present and future.
• Develop the critical skills to distinguish what you should put in the script and what you should leave out.

What You’ll Learn In The Scriptfella Program?

GROUND ZERO – WEEK ONE

• WHY YOU NEED TO HIJACK THE HOLLYWOOD READER’S BRAIN
• CINEMATIC vs INSTRUCTION MANUAL WRITING

CINEMATIC SCREENWRITING – WEEK ONE

• THE FIVE VISUAL ELEMENTS – A Belt & Braces Primer
• HOW TO WRITE FOR THE CAMERA
• HOW TO WRITE A CINEMATIC SEQUENCE FREE PREVIEW
• ASSIGNMENT 1: THE SHOT GAME
• HOW TO CREATE MOVING CAMERA SHOTS ON THE PAGE
• ASSIGNMENT 2: PAGE 1 IMAGE BOMBS
• HOW TO USE COSTUME & PROPS IN YOUR SCRIPT
• ACTING ON THE PAGE
• OPTIMIZE YOUR LOCATIONS
• 9 WAYS TO LIGHT UP YOUR SCREENPLAY
• 9 WAYS TO LIGHT UP YOUR SCREEN PLAY – Case Study, 1917 (Wilson-Cairns)
• 9 WAYS TO LIGHT UP YOUR SCREENPLAY – Part Three
• 9 WAYS TO LIGHT UP YOUR SCREEN PLAY – How to Use Colour Psychology on The Page
• THE SIXTH ELEMENT – SOUND DESIGN
• READER PSYCHOLOGY
• ASSIGNMENT 3: WRITE LIKE RENATO

NARRATIVE VOICE – WEEK TWO

• NARRATIVE VOICE – The Lowdown
• NARRATIVE VOICE – The Princess Bride (Goldman)
• NARRATIVE VOICE – Promising Young Woman (Fennell)
• NARRATIVE VOICE – The Brigands of Rattleborge (Zahler)
• NARRATIVE VOICE – The Good Wife (King & King)
• NARRATIVE VOICE – A Cautionary Tale (Morgan)
• NARRATIVE VOICE – Is Alien REALLY a Good Read?
• NARRATIVE VOICE – Shawshank Redemption (Darabont)
• NARRATIVE VOICE – 7 Lessons
• ASSIGNMENT 4 & 5 – Narrative Voice Switchup

IMMERSIVE SCREENWRITING – WEEK TWO

• SENTENCE CONSTRUCTIONS – Why N.V.O. Rocks
• THE CLAUSE OPENING – A Major Banana Skin for Screenwriters
• THE PERILS OF THE PASSIVE
• VANILLA VERBS – Hunt Them Down
• VANILLA ADJECTIVES – Search & Destroy
• SUBOPTIMAL VERBS – Is & Are
• THE PRESENT CONTINUOUS – When Should You Use It?
• WE SEE & WE HEAR – Do You Want to Detach the Reader from the Characters?
• ASSIGNMENT 6 – IMMERSIVE SCREENWRITING – Rewrite Page One of Baby Driver
• THE CLOSE PROXIMITY DISEASE
• ONE SHOT WORD WEAPONS
• SCENE GEOGRAPHY – Don’t Get Stuck In the Bocage
• THE TEN DISEASES OF DIALOGUE (AND CURES) – Part 1
• THE TEN DISEASES OF DIALOGUE (AND CURES) – Part 2
• HOW TO MASTER A CHARACTER INTRODUCTION – Six Techniques
• THE TRICKY TEAM CHARACTER INTRO
• HOW TO NAME YOUR CHARACTERS
• WHY YOU NEED TO FIGHT FOR THE INCHES ON THE PAGE
• ASSIGNMENT 7: THE COPACABANA ONER

LINE BY LINE TRAINING – WEEK THREE

• ELKINGTON’S WAR – By Matthew Skeate
• THE WITCH – By Roberto Gerardo
• KILLER RATINGS – By Jack Carey
• PROMISELAND – by Doug Tucker

OPTIMIZE YOUR SCREENPLAY – WEEK FOUR

• HOW TO HOOK A READER ON PAGE 1
• THE TITLE PAGE – Just The Facts
• PAGE ONE – Page Design
• THE OPENING IMAGE – Your Whole Story in One Picture
• HOW TO OPEN A MOVIE ON PAGE ONE – Narc (Carnahan)
• THE FINAL ASSIGNMENT: OPTIMIZE YOUR PAGE ONE FOR THE HOLLYWOOD READER

SCREENPLAY LIBRARY

• LEARN FROM THE PROS BY READING PRODUCED SCRIPTS

More courses from the same author: Dominic Morgan