Craft

the theory and practise of screenwriting

 James Napoli

Fact vs. Truth in Screenwriting

Fact vs. Truth in Screenwriting

Taking Quiz Show as a case study, James Napoli explores the art of turning true stories into powerful drama.

Taking Quiz Show as a case study, James Napoli explores the art of turning true stories into powerful drama.

 Michael Hauge

12 Powerful Principles of Story Structure

12 Powerful Principles of Story Structure

Michael Hauge discusses superior position, foreshadowing, ticking clocks and other screenwriting techniques, as revealed in James Cameron’s Avatar.

Michael Hauge discusses superior position, foreshadowing, ticking clocks and other screenwriting techniques, as revealed in James Cameron’s Avatar.

 Lee Nordling

Create Your Pitch Part II: Sell, Don’t Tell

Create Your Pitch Part II: Sell, Don’t Tell

Lee Nordling on why all writing is selling, the danger of detail, evoking an emotional response, and conceiving your story in broad strokes.

Lee Nordling on why all writing is selling, the danger of detail, evoking an emotional response, and conceiving your story in broad strokes.

 Lee Nordling

Create Your Pitch Part I: Baiting the Hook

Create Your Pitch Part I: Baiting the Hook

Lee Nordling on giving away the good part, the problem with high concept pitches, and the importance of hitting the producer between the eyes.

Lee Nordling on giving away the good part, the problem with high concept pitches, and the importance of hitting the producer between the eyes.

 Brianne Hogan

Questioning Your Screenplay

Questioning Your Screenplay

Aaron Mendelsohn on richly-detailed secondary characters, common mistakes new screenwriters make, and the most important question to ask about your story.

Aaron Mendelsohn on richly-detailed secondary characters, common mistakes new screenwriters make, and the most important question to ask about your story.

 Michael Welles Schock

Plot Patterns in Screenwriting

Plot Patterns in Screenwriting

Michael Welles Schock explores plot patterns in films, and explains why the 3 act structure is so successful.

Star Wars, The Godfather and Groundhog Day: They’re all the same film! Michael Welles Schock explains why.

 Kieron Moore

Overpowered Antagonists: Writing for Supervillains

Overpowered Antagonists: Writing for Supervillains

Kieron Moore explores the problems of writing for supervillains, and offers advice for crafting a worthy antagonist.

Kieron Moore explores the problems of writing for supervillains, discusses what traits they should and should not possess, and offers advice for crafting a worthy antagonist.

 Michael Hauge

What Are Friends For? The Reflection Character

What Are Friends For? The Reflection Character

Michael Hauge explores the Reflection Character, as revealed in The King’s Speech.

Michael Hauge explores the Reflection Character, as revealed in The King’s Speech.


Deep Feedback

Joss Whedon on Screenwriting

MFA in Screenwriting