How to Write a Screenplay
The Screenplay Itinerary (Cinema, Television and New Media) is a two-level syllabus - distributed over two academic years - specifically designed for the training of screenwriters.
Although the natural name of the script is cinematic, the truth is that it would be absurd to pretend that, in 2016, the Internet or television does not exist. And although it is true that both share a common basis with the grandfather of celluloid, so it is that they assume the appearance of new conditions, new opportunities and, therefore, require the scriptwriter a certain ability to adapt and mutate their work.
Objectives of the Itinerary
The goal of Guion's Itinerary is for the student to acquire the technical and narrative tools of the scriptwriter, as well as a structured method to tackle projects more or less complex and a basic knowledge with which to defend themselves in the vast and emerging audiovisual market.
To get writers versatile, autonomous and capable, the itinerary Write it again, Sam will invite you to chat with the students to writers, producers, filmmakers, actors and other professionals in the world of cinema. All this to help the student to understand that he enters into a collective means of creation in which the perspective of the screenwriter is enriched and complemented by the contributions of dozens of professionals throughout the production process.
To achieve these objectives, Writers' School has designed a two-course itinerary.
The two courses of the itinerary
Each course of the Itinerary occupies one academic year (from October to June). These are the exact characteristics for each of the modalities we offer (the face-to-face mode is taught in Madrid).
Duration: 8 months (approximate dedication: 160 hours)
Price: 1,200 euros
Number of students: 12
Duration: 90 hours (distributed in 32 classes of 2.5 hours plus 10 hours of activities and extraordinary meetings)
Price: 1,200 euros
Number of students: 12
First year: 24 frames per second
From paper to screen: Writing scripts is not writing literature. The writer knows that his work is only the plane of another major work - the one that will occupy the screen, months or years later - and this forces him to relate in another way to language.
In this first year students will learn the tools that allow the screenwriter to draw this plane accurately but interestingly, while developing precision and creativity, technique and experience and understanding the phases through which the script of an audiovisual work passes.
It will work both in individual writing exercises, as in team and both on own ideas as on closed premises. The course is completed with two meetings with audiovisual professionals and the analysis of two audiovisual works chosen by the team of teachers.
Second year: History seeks writer
From the idea to the project: In this second year the students will start a personal project and complete a first version of it, be it a series, a feature film or a new format work (webserie or similar).
Throughout the first year the student has learned the basic techniques and tools to write a script. In the second year the student will reinforce the concepts learned and will look at new aspects of film narrative, such as the differences between classic and modern narrative structure, through comparative analysis of films and the performance of individual and team writing exercises based on ideas own or others. But above all, it will stop especially in the pre-writing phase, the search phase of the idea, what you want to tell, developing a work of introspection and observation of the environment. Like the first year, the course is completed with two meetings with professionals in the sector and monographic sessions on audiovisual development techniques.
More information and registration
Beginning: October 19
Schedules: Without a fixed schedule, an approximate time of 5 hours per module
Beginning: October 16 (1st); October 19 (2nd)
Hours: On Mondays, from 8:00 p.m. to 10:30 p.m. (1st); Thursdays, from 8:00 p.m. to 10:30 p.m. (2nd)
First year | From paper to screen: 24 frames per second
1 - What are the scripts and what are the scriptwriters?
2 - Start a short film.
3 - The mother of all battles: the conflict
4 - We all want to be Superman: the characters.
5 - How to advance a story: the plot.
6 - Time and assembly: the assembly from the script.
7 - That inevitable moment: the end.
8 - Do not tell me that you love me, give me flowers: dialogue in the movies.
9 - The subtext.
10 - Spaces and worlds in the cinema.
11 - Drive while you write.
12 - Now what? Produce a short film without dying in the attempt.
13 - The comedy: the great conflict.
14 - The realistic drama: transition and emotions.
15 - The suspense: the bomb under the sofa.
16 - Surprises and terror.
17 - The thriller: that corrupt cop and his boss ...
18 - Science fiction: creating real and yet impossible worlds.
19 - Epic genres, sequences of action and other great moments.
20 - The rhythm in the cinema: changing gender.
21 - Write with the five senses.
22 - Have we gone crazy or what? Adaptations and transmedia
23 - The construction of the character "gender". Clichés and other diseases.
24 - You to the thriller and I to the comedy: the mixture of genres.
25 - The starting point: the premise.
26 - Time in the cinema.
27 - The DNA of the script: the structure.
28 - Frames and subframes.
29 - The first turning point.
30 - The crisis, always the crisis ...
31 - The second act or the crossing through the desert.
32 - The scriptwriter in the industry: pitch, log line and other marcianades ...
Second year | From idea to project: Story search writer
1 - Narrate in an anargative society: #cerodramas.
2 - Pretexts. Love, suicide and travel.
3 - The real (external) as an ally. From the neighbor of the 4th floor to the alienation in the digital era.
4 - The real (internal) as an ally. At what point am I, what is pounding in my head?
5 - The narration as an exorcism.
6 - Modify, adapt and enrich the real.
7 - The perspective as a narrative. Of mirrors and windows.
8 - Today as yesterday. Myths and tragedies.
9 - The theme leads to the premise and the founding principle. Or vice versa.
10 - Where does the story begin and end? How to take advantage of the premise.
11 - The original scene. Origin and condensation.
12 - The map of the series. Designing the "bible".
13 - The first season. Arc of transformation.
14 - Set the tone. Pilot chapter.
15 - Scale and treatment. One step closer to the feature film.
16 - Choose the point of view. The narrator.
17 - 007 against Doctor Freud: Bond and other celebrities on the couch. Underlying plot.
18 - To deepen in the network of personages. Opposition, narrative function and archetype.
19 - To deepen in the protagonist. Motivations, levels of conflict, exchange rates and progression.
20 - Construction, quality and sense of inciting incident.
21 - Progressive complications, crisis, climax and resolution.
22 - From the structure of 7 steps to 22.
23 - The three acts. The 2nd act or the crossing in the desert.
24 - Classical narrative structure. Architrama.
25 - Modern narrative structure. Antiframe and minitrama.
26 - Tricks and script failures. From hareng-saur to what prevents it?
27 - Levels of information. Who knows what and why he is silent, or not?
28 - Tissue of the plot and architecture of the scene. Optimization of resources and dialogue as symphony.
29 - Analysis of scenes. Technique.
30 - The narrative world through time, the structure and the journey of the protagonist.
31 - Meaning the moral argument. Typology and forms of development.
32 - The network of symbols. Highly concentrated meanings.