...... Great Screenwriting Series

Elevate Your Screenplay Writing Dramatically in the Next 45 Days

Improve Your Screenplay Writing dramatically.
The Great Screenwriting Series has been called "The best screenwriting class I've ever taken" by hundreds of screenwriters. It's 30 days of building your screenplay writing one-skill-at-a-time.

Whether you’re new to screenwriting or have written 10 scripts, the most important thing a screenwriter can do is to continually improve their craft. If you’re constantly adding new skills and improving what you’re already good at, sooner or later, your scripts will be award winners and/or produced as movies.

The depth of this program is intoxicating - it's difficult, it's easy, it's a journey of expansion that any serious writer should eagerly consume.

Sharoll Jackson

"No matter what level your writing is currently at, taking Hal Croasmun's Subtext Class and Great Screenwriting Series will prove to be the best investment in your future you've ever made as a writer. You will see instantaneous improvements and you'll advance well beyond your dreams."
Suzye Marino

What can you do to cause a major improvement?
When we study the best writers, it’s clear they have a high level of overall writing skill, but they also do things that most writers never even notice. Many times, I’ve listened to writers analyze a script and they talk only about what doesn’t work. The key to success as a writer is to learn what really works – what is that is great about these screenplays?

Interestingly enough, the great writers have two things in common -- 1) They were all focused on learning and mastering their craft and 2) somehow, they discovered the keys to writing a great script. Let me say that last one again. You need to…

DISCOVER THE KEYS TO WRITING A GREAT SCRIPT.
That is what the Great Screenwriting SERIES is designed to give you. The focus of this program is what works. We constantly work with what makes a script great. Here are some of the skills taught in the GSWS program.

ESSENTIAL SCREENWRITING SKILLS

Writing unique characters with unique dialogue.
Creating compelling character relationships.
Building backstory in without being blatant. -
Using conflict, tension, and twists to keep readers glued to the script. -
Writing dialogue that is natural, yet delivers on multiple levels. -
Setting up and paying off in a way that is satisfying and interesting.
Having each scene propel the reader into the future of the script.
Suspense that has them worry about the characters.
Creating anticipation that demands they continue turning the pages.
Visual and emotional description that has the reader see and feel the movie.
Creating uncertainty that has the reader never know what will happen next, but be so engaged that they can't put that script down.
And others.

STRUCTURE OF THE PROGRAM
Each day, you do an assignment using that day’s skill. Usually, you’re writing a quick scene. As you do the assignment, you have to think through that skill. Then you write using that skill and finally, you get to see how other writers used the same skill in their own unique way. Going through that process gives you a unique internal experience that causes learning on a deep level.

"There have been moments when I've rewritten something based on one of the exercises and thought, "that's infinitely better." We've all heard the mantra, "structure, structure, structure," but you can have all the structure in the world and still have a screenplay that bores.

Take this class and learn how to take your story to an entirely new dimension -- one that will motivate your readers to turn the page."
Lorraine Flett

So the Great Screenwriting Series improves your writing in three ways:

It provides exceptionally high quality screenwriting information that…
...causes you to see improvement in your writing every day,...
...AND build your confidence in your writing at the same time.

This third outcome is as important as the first two. When you read a professional writer's script, you can feel it. They write with confidence, with boldness, they have no fear of filling that script with their own voice.

Thanks Hal! This has been a wonderful experience for me. Learning and doing, and doing and learning, it’s been great! I’m struggling like hell, but this plane’s finally off the ground!
Steve Lynch

A VACATION FROM CRITICISM
While most people try to "silence the inner critic," we've developed this program to allow you to practice writing without criticism. Not because you are suppressing some other part of you, but because you have learned to write freely. Then you use the inner critic to edit.

GREAT SCREENWRITING SERIES
The program is divided into three 10-day online sessions. Each of them allows you to immerse yourself into an important aspect of screenwriting. For those thirty days, you need to allow an hour a day to do the writing assignments, but I promise, you’ll be so excited about it that you’ll be thinking about your writing all day long.

The classes are conducted online and we have two MONEY-BACK GUARANTEES. The sessions are:

Creating Characters for A-List Actors

When an A-List actor makes the decision to do a movie, a big part of that decision is based on whether that actor wants to play that character and speak the words from the script. Your characters and dialogue need to compel them to make that career decision.

These ten days will move you closer to the kind of characters and dialogue that will command the attention of A-list actors and production companies.

Day One: Creating Characters that make writing exciting and increase the drama.
Day Two: Characterization -- How characters come across on paper
Day Three: Character agendas -- Make your characters compete.
Day Four: Character attitudes -- Give them attitude or give them death
Day Five: Character relationships -- The great writer's tool.
Day Six: What dialogue is and isn't -- Crucial mistakes not to make.
Day Seven: Off-the-nose dialogue -- Giving dialogue character.
Day Eight: Backstory in a movie -- Triple the audience's experience of your characters.
Day Nine: Astounding Characters for "A" List Actors
Day Ten: Applying "Seduction" to your scripts.

Dramatic Devices: Building Fascinating Scenes

A screenwriter should be able to fill any scene with drama -- even if it's the lead character wrestling a jar of peanut butter open. The "dramatic choices" you make can bring your script to life or cause it to die a boring death. Once you master the dramatic devices presented here, you'll bring a new depth to your screenplays.

Day One: What makes a movie dramatic?
Day Two: Conflict/Tension
Day Three: Dramatic Irony
Day Four: Twists that keep the reader glued to the script
Day Five: Setup/Payoffs
Day Six: Settings that add to the Drama
Day Seven: The Crucible - Force characters to conflict with each other
Day Eight: Misleads and Reveals
Day Nine: Create a Future for the Scene
Day Ten: Applying "Dramatic Devices" to your scripts.

Write With Boldness: Creating Anticipation, Expectation and Compelling Description

While a screenplay is a "blueprint of a movie," it's also a literary work. Every time a reader, actor, producer, or director reads your script, they hope that this will be the script that moves them emotionally. A script they can't put down, that they fall in love with.

If you're not a master at anticipation, suspense, and emotional writing, then this section will bring your writing to a new level.

Day One: Causing anticipation - Make your script a "Page Turner."
Day Two: Anticipatory dialogue - Propel the audience into the future of your movie.
Day Three: Suspense - They'll worry about what will happen next.
Day Four: Hooks - Constantly incite their curiosity.
Day Five: Uncertainty in a script - The key to audience participation.
Day Six: Uncertainty 2: Keep them guessing. Keep them watching.
Day Seven: Vivid Visual Description - Causing readers to watch the movie in their minds.
Day Eight: Emotional Description - Engaging the emotions of the reader.
Day Nine: Being Bold - Putting attitude in your writing.
Day Ten: Applying "Boldness" to your own scripts.

Sign up for the Great Screenwriting Series and upon completion, you will understand these key writing techniques. You’ll also have the experience of writing everyday using many of the most valuable skills of great writers.

I highly recommend taking all three courses. The momentum of improvement that built up over the course of 30 days was phenomenal.

Judy Mills

You have my promise that the program will be one of the most valuable writing experiences you’ve ever had. Here are two guarantees to back that promise up.

TWO TOTALLY SAFE GUARANTEES

100% Guarantee

200% Guarantee

We're so confident that you'll love this program that we make this guarantee.

If after the first three days, you don't feel like this program is worth it, we will refund your money in full.

To receive a refund, you must pay for the program in advance. If you feel the course does not meet your expectations, email us at the end of the third day and your money will be refunded through PayPal.

If you go through all three sessions, turning in all the assignments and are not delighted with the improvement in your writing we will return to you double what you paid.

To receive this, you must have accomplished two things:

You've gone through all three programs in a sequence.
You've turned in all the assignments, no matter what the quality of work was.

Enroll Now

If your screenwriting is important to you, you owe it to yourself to go through this amazing learning experience. Look back at the techniques covered in this 30-day program and you’ll realize how much your writing can improve.

I've said before, and I'll say it till I die... this course is awesome. Personally, it's changed everything about my writing. I write with confidence, I have created some complex characters and the scenes I create now, blow me away. Would I have achieved this on my own? Perhaps one day, but I know I couldn't have come so far, so fast.
Michael Hockney

I'm better able to focus on the small aspects of the trade that make the screenplay much more dynamic. I was not aware of many of them, not on a conscious level, so the assignments have brought a much richer depth to my craft. I can see where a lot of my previous work needs to be re-done and that is exactly what I am doing now.
William J. Frey-Mclean

I’ve encouraged people to take this course saying it would make them smarter and more successful writers and that the program is unique and should blow their writers blocks out of the water.
Sam Fisk

Below is an example of the emails you'll receive in the Great Screenwriting Series. Each day, you'll receive an explanation of an important screenwriting skill, examples of the skill in use, and an assignment.

As you read "Character Relationships", imagine what difference it will make when you master this and other GSWS screenwriting skills.

DAY FIVE: CHARACTER RELATIONSHIPS
(From the Seducing Actors section)

Hollywood screams for unique premises, scenes, characters, dialogue, etc. One area that can easily be made unique is character relationships. Even though I've hardly seen it addressed in screenwriting classes or books, it is extremely important to actors. Why? Because it gives them another level they can express in their acting.

Like your characters, a relationship can have depth that will add drama to your script. In fact, many times it's the relationship between two characters that people really remember. That's chemistry. And it is a valuable way to make your script stand out.

Chemistry happens when characters share something meaningful. That could be a way of communicating, a goal, a fight, a common history, an admiration for each other or even a glance.

Let's divide character relationships into two areas: Discovering the chemistry in relationships and introducing the relationship.

DISCOVERING THE CHEMISTRY IN RELATIONSHIPS

The question is usually "How do you create chemistry between two characters?" If you consider who the characters are and what mutual experiences they've had, often you'll instantly discover their chemistry. You'll see how they mix and relate together. And keep in mind, chemistry is not just characters in love. You can have amazing chemistry between enemies as long as their relationship has certain aspects.

Here's a breakdown of different levels of chemistry.

LEVELS OF CHEMISTRY

1. Common Language/short cuts
2. Emotion
3. Playing the same game.
4. Need fulfillment

Here's a quick explanation of each.

1. Common Language/short cuts
People with chemistry often have a language of their own. Many times, one word may have years of meaning. Think about your close friends. Don't you communicate through a verbal form of shorthand?

2. Emotion
Like/respect each other (Includes love, admiration, etc.)
Characters who show positive emotions toward each other often have chemistry. Those emotions could come in the form of respect, admiration, liking each other, love, consideration, etc.

Even enemies can respect or admire each other's talents. That provides a level of chemistry.

3. Playing the same game.
This one is best explained by looking at a scene from DIE HARD. In it, John McClane (the protagonist) and Hans (the antagonist) are about to talk for the first time. Even though these two are in opposition, there's a degree of respect and admiration for each other, along with a willingness to play with each other. They're playing a game together.

MCCLANE - 34th FLOOR - BOARD ROOM

He's got a CB on the table and his cop's notebook is out again. He's already upgraded the NUMBER OF TERRORISTS? to "12 minus 3 = 9" and added other information. As he speaks he takes ammo clips the dead men dropped, their sidearms, etc.

MCCLANE
(into CB)
Gee, I'm sorry, Hans, nobody gave me the message. You shoulda put it on the bulletin board. Anyway, I thought you and Franco and Karl and the other boys might be lonely, now that I waxed Tony and Marco and their buddy. So I invited some of the guys from my card game.

In the office, the terrorists REACT, startled, as McClane name-drops.

FRANCO
How...how does he know so much about --

HANS
(waving for silence)
Ah, how nice of you to call. I assume you are our mysterious party crasher. You are most troublesome for a...security guard?

INT. 34th FLOOR - ON MCCLANE - INTERCUT

Moving down the corridor. Now armed with Marco's machine gun and carrying Heinrich's kit bag, he seems more lethal.

MCLANE
(into CB)
BZZZ! Sorry, Hans, wrong guess. Would you like to go for Double Jeopardy, where the stakes are double and the scores really change?

He rolls Heinrich over and is delighted to find a pack of Gauloise's in the man's pocket. He takes them, pats the dead man's face.

MCLANE
(sotto, to the body)
Bad for your health anyway.

HANS
Who are you, then?

MCLANE
(into the CB)
Just the fly in the ointment, Hans. The monkey in the wrench, the pain in the ass -

They could be trashing each other or screaming obscenities or avoiding each other, but none of that would give them chemistry. Instead, the writer chose to have them engage in this cat and mouse game that provides a unique and engaging relationship that made the movie.

4. Need fulfillment

There are two types of need fulfillment:
A) Where two characters have similar needs and fulfill them as a team.
B) Where each has a strength that fulfills the other's weakness.

In JERRY MAGUIRE, Dorothy and Jerry are continually fulfilling each other's needs in many ways. When Jerry is fired and makes the scene in the office, only Dorothy stands up to join him in his new company. On the other hand, Jerry fulfills her need to be inspired. Both have a need for their small company to succeed and both love her son.

Throughout the movie, they alternate fulfilling each other's needs...until it becomes clear that Dorothy's most important need - to be loved for who she is - is not being taken care of. They separate and don't come back together until Jerry realizes that he loves her and expresses it in front of her "divorce support group."

SUGGESTION: Take the most important relationships in your script and search for ways to build each of the four levels of chemistry into those relationships.

INTRODUCING CHARACTER RELATIONSHIPS

Just like a character should burst on the scene for the first time, a character relationship should also burst on the scene for the first time. By burst, I mean that the unique blend of these two characters should show up powerfully.

If the characters already know each other, let's see them in the utter glory of their unique form of banter. If they are just meeting, what unique method can you use to foreshadow their relationship? Consider this scene from LETHAL WEAPON in which Murtaugh and Riggs first meet.

In the scene, Roger Murtaugh, a detective, stands in an office talking with his boss. He has a clear view of the main room where the detective's desks are.

ACROSS the room, a detective takes off his gun and slings the holster across his chair. As he EXITS FRAME -- PAN to reveal: Martin Riggs as he enters the squad room. Shuffles from foot to foot, looking lost. Lights a smoke.

ACROSS ROOM

Murtaugh slings on a jacket. Turns to go. Notices Riggs.

MURTAUGH'S POV

Riggs resembles a bag person. Unshaven, limp dirty hair, grimy leather jacket.

BACK TO SCENE

He frowns, says:

MURTAUGH
McCaskey, if my wife calls, tell her late dinner.

BURKE
Ho, Rog- I'm not through yet. I'm supposed to tell you two more things.

MURTAUGH
Shoot.

He is still looking at Riggs, who is slowly wandering from desk to desk, smoking -- Stopping near the desk with the holstered gun.

BURKE
First, condition of the sheets and mattress indicate someone was in bed with Amanda Lloyd just before she died. That's A.

MURTAUGH
What's B?

BURKE
B is, I'm supposed to tell you you're breaking in a new partner on this.

Now Murtaugh is eyeballing Riggs. Cautious.

MURTAUGH
(distracted)
I don't work partners.

BURKE
You do now. C.I.T. transfer, some burnout they want you to keep on a leash.

MURTAUGH
Oh, perfect. Can I trade in my life for a new one?

At which point, across the room, Riggs removes the hol- stered gun and hefts it, curiously. Suddenly all hell breaks loose:

MURTAUGH
Gun!

He bolts like a cheetah.

Cops dive for cover, a secretary shrieks, and Murtaugh goes plowing through the squad room like an express train, blowing people out of the way -- Cops grabbing for their holsters -- Riggs, meanwhile, looking around frantically, he's trying to find the guy with the gun who is, of course, himself.

Murtaugh takes a flying leap sails across the desk, going for the glory. And Riggs, in the blink of an eye, simply ducks and flips Murtaugh neatly over one shoulder. There is a hideous crash of BREAKING GLASS and OVERTURNING FURNITURE. Ouch... McCaskey, meanwhile, screams to Burke:

McCASKEY
What the shit is going on?

Burke sighs, shakes his head:

BURKE
Roger just met his new partner.

That scene clearly and uniquely introduces the relationship these two guys will have. From that point on, we understand their relationship without anyone saying a word about how they relate.

To sum up, chemistry is something two people share. Even if they're on opposite sides. Even if they don't know each other yet. They're playing the same game...together and that can shown in a thousand ways. It can also be introduced powerfully and cause us to want to explore that relationship throughout the rest of the movie.

ASSIGNMENT

----------

Using the characters you've created, show a unique relationship between your characters and the chemistry they share. Try to express it on all four levels:

1. Common Language/short cuts
2. Emotion
3. Playing the same game.
4. Need fulfillment

Title: Chemistry. (Use in subject line)

Deadline: 24 hours

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I don't expect us to master this skill today. Just make an attempt to create a unique and interesting relationship between your characters and allow your unconscious to process this information about character relationships. Once you've completed writing the scene, go back through it and see if there are any other ways you can create chemistry between your characters.

I believe this is one of those techniques that will make a script stand out. After you've written your scene, read the others to see how they brought their character relationships to life.

Here's to amazing character relationships.
Hal

The 10-day sessions are $100 each and the total for all three is $275. You have my promise that the program will be one of the most valuable writing experiences you’ve ever had. Here are two guarantees to back that promise up.