Writing is nothing more than putting your character up a tree and throwing rocks at him.
– Denise Moss –
IN THE BEGINNING…
You’ve got an idea but you’ve no idea how to get it down on paper. Or what you’ve got on paper doesn’t work. This six-week individually paced course is for you.
Week one and two: We’ll vet your idea. See what space it belongs in: Series? Feature? Half-hour? Hour? Novel? We’ll make sure it holds water, is compelling, contemporary, and then we’ll dig down deep into why you NEED to tell it. I’ll send you off with some exercises to explore these issues. And we’ll do some housekeeping: Get you set up on the right software, take a look at your writing space (spaces), your writing schedule. It all matters.
Week three: We’ll look at getting your idea down to a one-sheet. One to two page that gives a beginning middle and end. Yes, there are other structures out there, but for right now we want to make sure this story can be told in a three-act structure. Hey, if it worked for Sophocles…
Week four/five/six: We’ll start working toward a solid four-page synopsis or beat sheet. We’ll be exploring plot, expanding the story, building additional characters. We’ll do some exercises to help you build compelling characters. By the end you’ll have a solid four-page synopsis, and you’ll start seeing your idea coming to life!
UNSTUCK IN THE MIDDLE
This six-week course is for those who have a finished beat-sheet/synopsis. (In lieu of taking Class A, a one-to-two page synopsis of your idea will be considered.)
Week one: An assessment. We’ll dig deeper into your synopsis from Class A and see where it needs strengthening. Start making our “Idea Bin.” Don’t worry, it’s fun. Maybe do some writing exercises to explore your main characters.
Week Two: We’ll start expanding your beat sheet into an outline. Deepening characters, B-stories, building tension. I’ll teach you how to write an outline that is detailed, but not a novel. Very few professional writers go to script without submitting outlines to studios and knowing how to write a good one is invaluable. But don’t worry, no outline is etched in stone. There should be plenty of room left for creative surprises in the writing process. Moving forward, deadlines will be set at a pace suited to the individual and material.
Week Three-Six: Rewrite. Rewrite. Rewrite. Getting the outline right means not getting lost in the script later on. Believe me on this. But by the end you should have an outline to go off and start writing scenes!
THE BIG LEBOWSKI
Getting from outline to first draft. (In lieu of Class A and B, an outline of your project will be considered.)
Week 1: By now you should know your story and your characters quite well. You should be brimming with confidence as you start writing your opening. That’s it. Just the opening. The grabber. The pages that either keep a reader engaged, or get your script or novel put on the “meh” pile. We’ll explore this together and I’ll share my favorite trick on how to get over the fear of the first scene.
Week 2-6: This will be paced according to the length of the material and the individual’s pace, with 5-20 pages due each week. And feedback given at the following session.
MASTERCLASS
Open to more advanced writers who want to work on an existing draft. Six weeks of detailed notes on rewriting an existing script. (Requires completion of Classes A, B, and C or submission of a three-page synopsis and ten pages of an existing script to be considered for admission.)
Week 1-6: Rewrites will be paced to each individual project, with the goal of having a new draft at the end of the session.
An hour and a half once a month jam session where everyone gets to share their ideas, problems, challenges and hear everyone’s thoughts.
Meet up with professional and non-professional writers in groups of 6 to 8 to discuss writing issues, resolve challenges and get a chance to meet fellow writers and share your struggles. Through this group you’ll build accountability, gather support, get valuable feedback and increase success. No great writer does it alone.