info@afilm.es
GUY MEREDITH’S TWO DAY SCREENWRITING WORKSHOP &
GUY MEREDITH’S / ROGER GREGORY’S PERSONAL SCRIPT TUTORIALS
afilm offers a two day, intensive screenwriting workshop aimed at writers, story editors, directors and producers, covering all genres, from drama to comedy to thrillers. Following this workshop, students may sign up for individual, one-on-one script sessions with Roger Gregory / Guy Meredith.
The workshop is lead by Guy Meredith, co-creator and original Head of Studies for PILOTS and lecturer for the EBU Bursary Scheme.
The one-on-one Script Tutorial sessions will be lead by Guy Meredith / Roger Gregory, Producer / Script Consultant, tutor at PILOTS and the EBU Bursary Scheme.
- Guy is articulate, entertaining, clear, concise, funny and really knows his field well. He gives a terrific seminar.
- Linda Seger, scriptwriting consultant, USA
CONTENIDO DEL TALLER:
The Set-Up
1. The four story elements: World, Character, Plot and Tone
2. Using the world or setting to attract the audience.
3. Designing worlds with inbuilt contradictions.
4. The relation between setting and subject.
5. How to establish tone.
6. The difference between tone and genre.
7. How to change the story by changing the tone.
ESTABLISHING A RELATIONSHIP WITH THE AUDIENCE
1. Planting and defining the audience’s needs.
2. Manipulating and avoiding the audience’s needs.
3. Writing for the head and the heart, the intellect and the emotions.
4. Delaying the use of plot by concentrating on character.
5. Setting up story motors for the audience.
THE CHARACTERS
1. Giving your characters inner conflict.
2. Five forms of vulnerability.
3. Why is my protagonist the least interesting character?
4. Self-image and projected image: what characters are like and how they want to be seen.
5. Inner mystery and capacity for self-discovery.
6. The active and passive sides of personality.
7. Secondary characters: confidants, antagonists, false friends and enemies etc
STORYTELLING TECHNIQUES (1)
1. How and when to use backstory. The balance of backstory and forward story in different genres.
2. Choosing between 1st person and 3rd person point of view. Using POV to its best advantage.
3. Dilemma and the power of doubt.
4. Mystery, misunderstanding and subterfuge; when to resolve and how to renew them.
5. Creating tension without car chases.
PLOTTING
1. The relationship between plot, story and theme.
2. Three acts, eleven steps; the importance of reversal.
3. The outer and the inner journey of the protagonist.
4. The use of subplot.
5. Where does the story really start?
6. Where stories normally fail: the turning point and the deepshit point.
STORYTELLING TECHNIQUES (2)
1. The use of superior and inferior position. Making the viewer a character in the story.
2. Using power shifts at story level.
3. Unresolved Sexual Tension – so much better than sex.
4. The need to re-motivate characters; when and how to do it.
SCENE CONSTRUCTION
1. Do I need this scene? If so, who should be in it?
2. Where to begin the scene and where to end.
3. Levels of knowledge; who knows what, who wants what?
4. Reversing power within a scene. Raising the stakes within a scene.
THE FINALE
1. Putting a clock on the third act.
2. Getting to the end in a surprising way rather than using a surprise ending.
3. Solution and resolution. The importance of self-discovery in order for your protagonist to succeed.
4. What is the audience taking away?
