The Six Month Screenwriting Course. Write your very best. screenplay in six months   What do you get from this course? Weekly instruction from one of the very best (Adam Bowen) in how to write your very best screenplay. Weekly discipline to do work on your screenplay. Three months to prepare your story. You will have Preparation tasks every week. Allow three hours per week to complete. Three months to write your story. 10 pages per week or 2 per day (5 days) At the end of the course you will have a 100 page screenplay . Weekly social with your fellow course participants to network and motivate

Course Venue       Screen Australia Studios         101 Eton Road          Lindfield NSW

Who should attend? Writers, Producers, Directors, Emerging Filmmakers. Beginners, Intermediates, Film Students And anyone who wants to write their own quality 100 page screenplay. This is the course for anyone who would like to have a 100 page script by June 2009. This course motivates and keeps you on track with your screenplay objective

This course delivers what it promises.

Why, Because it teaches you how to write a feature length screenplay.
But not only does it teach you.
It makes you write a feature length script.

 

How does the course work? Part A of the course Over the first three months, you prepare your story. Adam Bowen, the instructor, will set key activities for each week, theses activities will ensures that you create and prepare the best possible script. Part B of the course. Over the second three months you write your story at a pace of 10 pages per week or 2 pages per day over a five day week. That is about one hours worth of work per day in the second half of the course.

Many people have said to us that they would love to write their script idea.
But they do not have time and they find it hard to do as they get isolated lost and they have no deadlines.

This course is designed to give you the deadlines.


And this course only takes up three hours per week on Tuesday Nights and a few Two hours per week in Part A of the course preparation and
One hour per day in Part B of the course.

The Reward is your very own 100 page screenplay.

Not only that you learn all about writing screenplays from one of the very best Adam Bowen.

When? Part A  Dates 2oth January and every Tuesday till 24th March    10 Sessions. Part B Dates 21st April  and every Tuesday  till 23rd June     10 Sessions. Where is the Course Venue? Screen Australia Studios 101 Eton Road Lindfield

SCRIPTWRITING COURSE PROGRAM (OUTLINE)

During the course all participants should write at least one complete film script.

There are 3 choices.

1. Their own full length feature script, or
2. A 30 minute script which will be developed in detail during the course, or
3. BOTH - their own full length feature script, and the 30 minute ‘course’ script.

Term 1 - Sessions take place every Tuesday night from 07th April - 09th June 6.30 pm - 9.30 pm

Session 1: The Groundwork: Story and Character Why are we all involved in this course?  Because we want to tell stories.  Why? What is a story?  Story and Character - why they are the essential co-dependents of drama.  Can there be a story without a character? Can a character be dramatic without a story?  We explore this, and look at some examples of exceptional, memorable and useful characters in movies. And we explore the different story types, or genres, and decide which genre our 30 minute film will be: comedy, melodrama, tragedy, thriller.. We create a new character, who will be the core of our 30 minute script; and two more main characters, with their various goals, needs, virtues, flaws and quirks. Now we have the course script’s main characters. We explore how to write their Character Breakdowns. (All participants are encouraged to present their ideas, and make suggestions.) Before the end of the class, we play a quick game in which we randomly mix up personality traits to create some weird (and maybe even fascinating) characters. Homework:  Write Character Breakdowns of the three main characters of your Feature Script/Course Script /Both

Session 2: The Groundwork: Story and Character We look at the 3 characters we’ve created for our course script and workshop various stories in which they could be involved.  (When you have 3 good characters, there are so many possibilities, but the best idea eventually emerges.)  We also look at examples of movies with compelling main characters, what makes them compelling, and we workshop other possible movie scenarios for those characters. Participants are asked to name a favourite movie, and ‘pitch’ the story of that movie in a forceful way.  The concept of a ‘pitch’ is explained, analysed and workshopped. (Certain stories are difficult to pitch, because the story is complex or taboo.) Participants are asked to pitch the story of another favourite movie in one sentence – a logline, which is like a newspaper headline. Homework:  Think up a story for your feature film/course film/both to be ‘pitched’ at the next class, in brief outline and in logline form.  Also participants are asked to bring in one eye-catching newspaper headline, and we examine the story possibilities that might spring from that headline.

Session 3: How strong is your story idea Pitching Headlines, loglines and single sentence pitches are explored.  Do they grab the attention?  Does the audience immediately want to see your film; want know more about the story? Examples of compelling (and otherwise) newspaper headlines are explored, along with examples of movie and TV show pitches that have succeeded, and failed. Participants present the headlines they have sourced, and we workshop the story possibilities which stem from those headlines. (Possibly influenced by the power of the preceding headlines) participants now pitch their movie stories in both (brief) outline and logline form. Homework: Write a one-page synopsis of your movie/the course movie/both; and head it with a grabber of a logline. Don’t worry too much about perfection – yet!  Also, watch movie #1 (on DVD) integral to part of the next class.

Session 4: Fleshing Out the Story We work out the story of the course script in greater detail: create its beginning middle and end – not necessarily in that order. We look at the basic structure of some successful movies, and look at the story beats of movie #1.  For movie #1, the low budget, highly successful Juno is a good example for Australian scriptwriters and film-makers. It’s a movie that cost circa $7.5 million (US) to produce, and has grossed more than $150 million (US) in theatrical distribution alone. It’s a comedy about growing up, about unplanned pregnancy, about families, about an offbeat central character who has to make a major decision about her life; it appeals to a wide demographic. We work out the 12 main story beats of Juno (for example.) Homework: Write out the 12 Story Beats of your feature script/the course script/both. Also, watch movie #2 (on DVD) integral to part of the next class.

Session 5: Fleshing Out the Story 2 We look at some randomly selected examples of the participants’ homework, and from them we select the 12 Story Beats for the course script. We look at the basic structure of an artistically successful movie (#2) A good example for #2 is The Kite Runner, the adaptation of a famous novel, with expensive in-built production costs, and no name actors; produced for circa $20 million (US) – a low budget by US standards. The story of an exile, living in the USA, who returns to his native Afghanistan to help his oldest friend. It’s about courage, friendship, and redemption. We look at 12 Story Beats for The Kite Runner (for example) Homework: Write a 4 to 10 page Outline of your feature script/course script/both.

Session 6: Scene Breakdown Preparation The Teacher presents his story Outline for the course script, and welcomes suggestions of variations to his Outline from participants. We review the 12 Story Beats for the course script, review its Story Outline in preparation for the Scene Breakdown of the course script. The method of writing a Scene Breakdown is explored. We screen a short example scene from a movie, and ask participants to write a Scene Breakdown of it. The participants hear the story of a movie up until the point in which a pivotal scene occurs.  They are then asked to write a Scene Breakdown of that pivotal scene. Homework: Write a Scene Breakdown of the First Act of your feature script/ the course script (10 scenes)/both.

Session 7: Scene Breakdown Act 1 We work out the Scene Breakdown of Act 1 of the course script, drawing from a selection of scenes from the participants’ homework. We discuss the overall structure of Act 1 and of each individual scene. We analyse, make adjustments..and complete Act 1 Scene Breakdown, for the time being.  Well, almost.. Before the end of the class, two participants collaborate in writing the logline for each of the Act 1 scenes, from 1 to 10. For example: the summary of Scene 5 might be...”Karen persuades John to rob his grandmother.” We line up those loglines, from 1 to 10, and get an instant look at the structure of Act 1. Homework: Write a Scene Breakdown of the Second Act of your feature script/ the course script (10 scenes)/both.

Session 8: Scene Breakdown Act 2 We work on the Scene Breakdown of Act 2 of the course script, using a selection of scenes from the participants’ homework, with amendments and adjustments We look at the overall structure of Act 2 Scene Breakdown and of the individual scenes, analyse, modify; then look at Act 1 and Act 2 Scene Breakdowns as a continuous flow.  Before the end of the class, two participants collaborate in writing the logline for each of the Act 2 scenes from 1 to 10. In other words: the summary of Scene 18 is...etc We line up those Act 2 scene loglines, from 1 to 10, together with the scene loglines for Act 1 and get an instant look at the structure of Acts 1 and 2 Homework: Write a Scene Breakdown of the Third Act of your feature script/ the course script (10 scenes)/both.

Session 9: Scene Breakdown Act 3 We work out the Act 3 Scene Breakdown, drawing on the participants’ homework versions, modifying, editing, improving as we go. Then we look at the structure of the individual scenes, and the overall shape of Act 3; then analyse the flow of the entire Scene Breakdown for Acts 1, 2 and 3. Before the end of the class, two participants collaborate in writing the logline for each of the Act 3 scenes from 1 to 10. In other words: the summary of Scene 23 is...etc We line up those Act 3 scene loglines, from 1 to 10, together with the scene loglines for Acts 1 and 3, and now have a quick guide to the structure of our 3 Acts. Homework: Think of a different ending to your feature script/course script/both, and adjust your scene breakdowns to accommodate/set up that change.

Session 10: Checking the Map before beginning the journey. If the Script is your journey, the Scene Breakdown is your map. So, before you embark on the journey, it’s a good idea to check the map, so you don’t get lost. If you want to go off in a different direction, that’s fine, but it’s always handy to have the map, if you need to find your way back, or to your destination (The End) We look at some of the participants’ ideas for a different ending to the course script. Then we agree on an ending. We review, revise, edit and finalise the Scene Breakdown. Now the script is ready to be written in full, with dialogue.  So to prepare... Participants view a short powerful scene from a movie – several times, until they know it well enough to write out the scene in script form. Then we show the script version of the scene, and participants can compare their version with the bought one. We pick a short, simple scene (from the script) and write it, together, in class. Then we pick a more complex scene, and write it, together, in class. Homework:  View movies #1 & #2 (again) and  #3 (on DVD) They’re integral to next term’s classes. Also read the scripts of those movies.

TERM BREAK

Term 2 - Sessions take place every Tuesday night from 30th June - 01st Sept 6.30-9.30 pm

Session 11: Script Analysis, Scene-by-Scene We analyse the First Act of Juno (for example), scene by scene. Juno is a beautifully crafted script, which seamlessly and unpredictably intertwines screwball comedy and poignant human drama. We look at the set-up...the characterisations, the story structure, how and why the surprises surprise; how the writer makes us play catch-up; the internal scene structure, the turning points; the values that are at stake in every scene, and how they change; how the dialogue and the action tells the story of the inner conflicts, the interpersonal conflicts, the external conflicts; how the writer balances the emotions, imparts insights... All is de-constructed for our edification. We also look at how some written scenes appear on the screen. Homework: Participants write 10 pages of their feature script, or 3 pages of the course script, or tackle both tasks.

Session 12: Script Analysis, Scene-by-Scene We analyse the Second Act of Juno (for example) with the same attention to detail as our analysis of Act 1 (see above); and take into account what has been set up in Act 1, and its effect on Act 2. We again look at how some written scenes appear on the screen. Homework: Participants write 10 more pages of their feature script, or 3 more pages of the course script, or tackle both tasks.

Session 13: Script Analysis, Scene-by-Scene We analyse the Third Act of Juno (for example) with the same attention to detail as our analysis of Acts1 & 2 (see above); and take into account what has been set up in Acts 1 & 2, and the effect on Act 3. We again look at how some written scenes appear on the screen. Homework: Participants write 10 more pages of their feature script, or 3 more pages of the course script, or tackle both tasks.  Also re-view Movie #2  (Juno, for example) on DVD.

Session 14: Script Analysis, Scene-by-Scene We analyse the First Act of Crash (for example), scene by scene.  Crash has a very different structure and tone to Juno. It has a multi-strand, multi-character structure, and has a focus on a social issue, racism, which is not that common for an (eventually) successful movie. As with Juno, (see above) we analyse Crash Act 1 in detail, with particular reference to the multi-layered storytelling. We also look at how some written scenes appear on the screen. Homework: Participants write 10 more pages of their feature script, or 3 more pages of the course script, or tackle both tasks.

Session 15: Script Analysis, Scene-by-Scene We analyse the Second Act of Crash (for example) with the same attention to detail as our analysis of Act 1 (see above); and take into account what has been set up in Act 1, and its effect on Act 2. We again look at how some written scenes appear on the screen. Homework: Participants write 10 more pages of their feature script, or 3 more pages of the course script, or tackle both tasks.

Session 16: Script Analysis, Scene-by-Scene We analyse the Third Act of Crash (for example) with the same attention to detail as our analysis of Acts1 & 2 (see above); and take into account what has been set up in Acts 1 & 2, and the effect on Act 3. We again look at how some written scenes appear on the screen.   Homework: Participants write 10 more pages of their feature script, or 3 more pages of the course script, or tackle both tasks.  Also re-view Movie #3 (The Kite Runner, for example) on DVD.

Session 17: Script Analysis, Scene-by-Scene We analyse the First Act of The Kite Runner (for example), scene by scene. The Kite Runner is very different in structure and tone to Crash, and different again to Juno. The Kite Runner (like many films) is an adaptation of a best-selling novel.  Much of the script is based in the modern historical context of pre-Taliban Afghanistan, to which the story flashes back from modern USA. The script’s movements between past and present (youth & maturity) are particularly skilful, in that they never cause any emotional disengagement or lapse in tension. In fact, the audience becomes deeply engaged on the effect that the past has on the present, and are willingly carried towards the intersection of past and present in the emotional climax. As with Juno and Crash, we analyse Act 1 of the Kite Runner in detail. We also look at how some written scenes appear on the screen. Homework: Participants write 10 more pages of their feature script, or 3 more pages of the course script, or tackle both tasks.

Session 18: Script Analysis, Scene-by-Scene We analyse the Second Act of Kite Runner (for example) with the same attention to detail as our analysis of Act 1 (see above); and take into account what has been set up in Act 1, and its effect on Act 2. We again look at how some written scenes appear on the screen. Homework: Participants write 10 more pages of their feature script, or 3 more pages of the course script, or tackle both tasks.

Session 19: Script Analysis, Scene-by-Scene We analyse the Third Act of The Kite Runner (for example) with the same attention to detail as our analysis of Acts1 & 2 (see above); and take into account what has been set up in Acts 1 & 2, and the effect on Act 3. We again look at how some written scenes appear on the screen. Homework: Participants write 10 more pages of their feature script, or 3 more pages of the course script, or tackle both tasks.  Also, participants should read a short screenplay (provided) and make their own notes and suggestions for editing purposes, in preparation for the next class.

Session 20: Script Editing & Assessing Writing is re-writing, and re-writing again, and probably re-structuring, and more re-writing. An introduction to the processes of Script Editing & Assessing. Probably the most underestimated skill required for screenwriting is the ability to take criticism and suggestions about your work. In the process of getting a script from page to screen many key personnel will give script notes, from story and script editors to actors and distributors.  Learning how to listen, what to listen for, who to listen to and how to react is vital. It’s as equally valuable for a writer to give notes as to receive them. The process of giving notes on another’s script teaches objectivity, and enhances the ability of a writer to identify problems in their own writing. We will look at the screenplay provided for the homework, and explore the script editing process. Participants will offer their notes and suggestions for the improvement of that screenplay.

Session 21: Where to Now? Your direction from here The Three Options for your screenplay. Funding for further Screenplay Development and Film Financing. Low Budget Film Making and Cost An Overview One Ultra Low Budget Feature Film Making.

 

How much is the Screenwriters Course?

Our Film Screenwriters Course is only...                $2495                         (includes 10% GST) SPECIAL NEW YEARS  SAVING                                $500   Last Minute Booking  SAVE $500 COURSE INVESTMENT  DISCOUNTED $1995 INVEST $495 NOW and the balance of $1495 on the first night of the course  Click here to Book Now

There are four different methods to invest  $495 this week: 1. Credit Card. Pay Online via secure Pay Pal  (click here) 2. Phone your card details to 1800131166 (office hours, free call) 3. Bank Transfer  4. Money Order or Cheque  THIS Discount is only valid if booked over the Christmas break.  OFFER ENDS JANUARY 26TH 2009

 

A Reminder  You get the following

 

 

• Weekly instruction from one of the very best (Adam Bowen) in how to write your very best screenplay.
  

• Weekly discipline to do work on your screenplay.
  

• Three months to prepare your story. You will have Preparation tasks every week. Allow three hours per week to complete.
  

• Three months to write your story. 10 pages per week or 2 per day (5 days)
  

• At the end of the course you will have a 100 page screenplay.

 

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