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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 |
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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.
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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.
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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
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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. |
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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:
Seducing Actors: Writing
Characters and Dialogue Actors love
March 25-April 4, 2004, 2003 $85.00 USD or $225.00
USD for all Three Courses
Enroll
Now
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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.
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Dramatic Devices: Building
Fascinating Scenes
August 22 - 31, 2004,
2003
$85.00 USD
or $225.00 USD for all Three Courses
Enroll Now |
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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.
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Write With Boldness: Creating
Anticipation, Expectation and Compelling Description
September 7 - 16, 2004, 2003
$85.00 USD or $225.00
USD for all Three Courses
Enroll
Now
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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.
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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.
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I highly recommend taking all three courses. The
momentum of improvement that built up over the course of 30 days was
phenomenal.
Judy Mills |
The 10-day sessions are
$85 each and the total for all three is $250, but if
you register early, you get all three for $195. 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
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100% Guarantee |
200% Guarantee |
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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.
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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.
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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.
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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
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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 $85 each and the total for all three
is $225. 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.
|
