Screenwriting 101: Mastering the Art of Story

Course No. 2126
Professor Angus Fletcher, Ph.D.
The Ohio State University
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Course No. 2126
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What Will You Learn?

  • How to reverse engineer any story to discover its effect on the audience and how you can use the same tools to tell your own story.
  • The four components of storytelling and how they work together.
  • What makes film and television different and why each form has its own advantages and disadvantages for storytellers.
  • Why you should discard artificial three-act structure and other storytelling "formulas."

Course Overview

One of the 20th century’s greatest fiction writers, F. Scott Fitzgerald, was lured by the promise of Hollywood glamour to try his hand at screenwriting. He failed. His misadventure became a cautionary tale for aspiring screenwriters for decades. Meanwhile, Oscar-nominated scriptwriter John Milius, who penned the script for Apocalypse Now, once said that his job was “hackwork.” So which is it? Is writing for the screen a glamorous vocation or formulaic drudgery? Is it a difficult undertaking that can sink a great novelist at the height of his career, or simply another boring day job that requires minimal skill?

What lies at the heart of screenwriting is the same thing that undergirds all great fiction writing: the story. Writing a script is simply another way of telling a story, albeit one with its own special set of possibilities and limitations. If you want to write stories—in any style or genre—the practical and versatile skills you can learn from screenwriting will enhance any tale you want to tell.

Whether you want to write your own scripts or simply gain a deeper appreciation for the great stories you see unfold on the screen, Professor Angus Fletcher is here to show you the way in Screenwriting 101: Mastering the Art of Story. Professor Fletcher, Professor of English and Film at The Ohio State University, brings both a personal and scholarly perspective to this craft. As a screenwriter himself, he has experienced the ins and outs of the process first-hand. And as a key faculty member in Project Narrative, a think tank devoted to using cognitive science to study the effects of stories on the human mind, Professor Fletcher offers unique insight into storytelling from both a neuroscientific and a literary perspective. In the 24 lectures of Screenwriting 101, you will understand not only how to write a script, but how to tell a great story that moves audiences—the ultimate goal of storytelling in any medium.

As you learn the structure and techniques of screenwriting, you will also receive an immersive education in effective storytelling by looking at over a dozen successful film and television scripts. Whether you want to achieve the grand vision of Star Wars or challenge your audiences like Do the Right Thing, charm viewers like The Princess Bride or sustain comedy over time like The Simpsons, Professor Fletcher shows you how to use successful scripts to write your own, as well as come to a deeper understanding and respect for outstanding stories.

For those just starting out, understanding the reality of writing for the screen—what it can accomplish and the best methods to achieve your vision—is the first step to deciding if it is the right way to tell your story. If you have already tried your hand at screenwriting but don’t quite know how to best use the form to your advantage, the next step is to see how great scripts work and how the tools used by screenwriters can be used by anyone. And even if you have no intention of writing but want to see the inner workings of how great film and television works, learning the creative process is the key to genuine appreciation.

Begin at the End

There are two key questions a screenwriter must ask when embarking on a story: Where do I want to take my audience? How do I get there?

The question of where is about more than just physical time and place; it is the “where” of cognitive effect—the emotional and psychological response you want to elicit from your audience. This makes the “how” more complicated, as it goes beyond settings, costumes, and characters, and instead goes deeper, into the most fundamental processes of the human mind.

Despite what you may have been told, writing a great script is not about formulas and three-act structure. Great scripts—great stories—are those that create the desired emotional response in audiences, something that can only be achieved by knowing which methods are most effective and how they suit the story you want to tell. To uncover these methods, Professor Fletcher gives you an invaluable tool that you will put to use in every single lecture of Screenwriting 101 and in your work beyond: reverse engineering.

Reverse engineering a story allows you to begin at the end and work your way backwards to uncover the “secrets” of the story’s influence on the audience. It is not used to uncover tropes or archetypes—those are easy enough to discover without any special tools—but something much deeper and more fundamental. Start with the effect you want to achieve: from the tragic sublime and existential meaning to sympathy and romantic longing, the cognitive effects of storytelling tap into the primal roots of the human experience and are powerful because they are universal—just ask the ancient Greeks, whose storytelling techniques are one of many foundations Professor Fletcher utilizes as he shows you how structure can lead to innovation. Once you have identified the effect of a story, tracing the story structures that created it will give you limitless possibilities in your own work and a greater understanding of what makes great film and television work so well.

The Elements of Storytelling

Understanding the overall cognitive effect of a story is a crucial step in creating and understanding audience response, but that is not the only thing you must do. While there are no templates or formulas for the perfect story, there are four key elements that must work together seamlessly in every successful narrative:

  1. Story world: The rules of your creative universe. Is your story world one where dreams come true? Where superheroes can fly? Or is it rooted in harsh reality? Genres and other pre-existing structures can give you a little help, but you must always give the rules your own special twist.
  2. Character: A great character can lead an audience anywhere. Main characters need to be special to stand out from everyone else, but they are all created by tapping into three basic human experiences: conflict, fear, and sympathy.
  3. Tone: Every story has a narrative voice, a lens through which the story is viewed and which determines how audiences should feel about the characters and story beats. Film and television are visual mediums and the language you use as a writer is crucial to how your story will be translated to the screen.
  4. Plot: The plot is the engine that keeps your story moving forward. Humans are actually naturally inclined to plot, which can be a problem if you don’t know how to constrain your plots in the face of limitless possibilities. Rather than using diagrams and formulas, plotting your story beats backwards can keep you on track.

Study the Greats

Once you have a grasp on reverse engineering and the basic elements every story needs, you can take your newfound knowledge and apply it to a range of powerful and effective stories of film and television. First, you will study 12 film scripts selected by the Writer’s Guild of America as some of the greatest ever written. Then, turn to television by looking at several representative episodes and genres. Each story you encounter demonstrates a different sensibility in both technique and cognitive effect.

As you study the work of over a dozen great screenwriters, you will also get fascinating glimpses into the production and ongoing influence of groundbreaking films and TV shows. Throughout the lectures you will:

  1. See how a forgotten Hollywood genre can be revived by the right script at the right time;
  2. Understand how a film that flopped on initial release can go on to become a beloved classic through the power of community;
  3. Witness the ways collaboration can shape a film throughout production and shape the story beyond the script;
  4. Discover how a script that went through nineteen rewrites ultimately rewrote film history for decades afterward;
  5. Compare the storytelling structures of television and film and see why it is so important for writers to understand the different opportunities they offer; and much more.

Each story you encounter uses different tools to achieve a variety of psychological and emotional responses. Your journey through each script mirrors the pattern Professor Fletcher establishes within the first six lectures, beginning each by reverse engineering the overall story, then similarly deconstructing each of the four story components to see how they operate as part of the whole. From the redemption arc of the Western Unforgiven to the romantic longing of Annie Hall, each story offers invaluable insights you can bring to your own writing—and viewing—experiences. While Professor Fletcher encourages you to watch each of the stories he discusses in their final form, he forgoes video clips in favor of line readings in the lectures, adhering closely to the way screenwriters work from day to day. To further immerse you in the process, the video versions of the course feature on-screen scripts with highlighting to follow each passage and scene.

There is no cookie-cutter formula for writing scripts and no checklist for what makes a film or television show great. What Screenwriting 101 offers instead is an infinitely flexible storytelling tool that has worked for the greats—from Euripides to Shakespeare to Pixar—and a selection of resources to show you how to put it to use. In the end, you will have gained the invaluable ability to appreciate more films and TV, tell better stories, and write your own scripts. How you decide to use these limitless creative possibilities is up to you.

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24 lectures
 |  Average 31 minutes each
  • 1
    Thinking like a Screenwriter
    Before "Lights! Camera! Action!" there is one thing a film must have: a good story. This first lecture introduces you to the importance of story and Professor Fletcher's unique approach to it. Look to the literary past to see how the earliest stories shape the ones we create today and use that knowledge to look at scripts and storytelling. You may be surprised to discover how cognitive science can shed light on how humans experience stories. x
  • 2
    Reverse Engineering Successful Scripts
    The first question any writer must ask is: where do I want to take my audience? Professor Fletcher shows you how to reverse engineer stories to pinpoint their cognitive effects and put those tools to use in your own writing (and viewing) experiences. Travel back to the dawn of scriptwriting and reverse engineer three major storytelling innovations of ancient Greece, connecting each to a successful modern film script. x
  • 3
    Building Your Story World
    Every script has a setting, both a time and a place where the story occurs. Your “story world” is, however, more than the physical or temporal—what makes the world are the rules you create for it. Understand the value of the rules that underlie your story and see how genres allow you to use pre-existing structures while enabling you to embrace a multitude of possibilities. Then, look at the “big three” genres: Tragedy, Comedy, and Heroic. x
  • 4
    Developing Your Characters
    Character is the key ingredient in most successful stories; make great characters and audiences will want to follow them anywhere. Professor Fletcher presents a simple recipe for creating memorable characters with three simple ingredients. Discover why fear is the most powerful driver of human behavior and why this is a key to creating and sustaining great characters. x
  • 5
    Tone: The Screenwriter's Lens
    One thing budding screenwriters often forget is this: you are not the director. Your job as the writer is to create a great story; the rest of the work is up to others. So how do you make sure your story creates the cognitive effect you want? The answer is tone. Look at the two most important ways writers shape tone and then dive into four influential tones used in screenwriting, using both literature and award-winning scripts as your guide. x
  • 6
    Plotting Your Story Beats
    One of the most common pitfalls of scriptwriting is poor plotting. The human mind is actually designed to plot—the key is learning how to constrain this natural tendency so your story doesn’t simply wander. See how plotting backwards can help you stay on track and why you should forget about creating a three-act structure. x
  • 7
    Sentimental Return: Casablanca
    Begin your exploration of great film scripts with Casablanca. Learn how to identify its cognitive effect and reverse engineer the four main story components to unlock the tools you will use to understand every script. Casablanca will also introduce you to the first of the “big three” storytelling genres: the heroic. x
  • 8
    The Tragic Sublime: The Godfather
    How does a script go through 19 rewrites and multiple directors to emerge as one of the most influential films of the 20th century? Reverse engineer this story that traces its roots back to ancient Rome and see how a sublime tragedy can be even more powerful when brought down to a human scale. x
  • 9
    Romantic Satisfaction: When Harry Met Sally…
    The basic plot of all romantic comedies is essentially the same, so the surprise success of When Harry Met Sally can teach writers volumes about all the other ways you can make a story great. Professor Fletcher demonstrates the subtle ways screenwriters can add naturalistic details to make a predictable story still feel realistic and rewarding. x
  • 10
    Suspense and Relief: Jaws
    Take a look at the film whose immense success gave us the term “blockbuster,” examining why the feeling of relief is one of the most primordial of human emotions and how it can best be put to use in good storytelling. Also gain an appreciation for the value of improvisation and collaboration with actors in the filmmaking process. x
  • 11
    Romantic Longing: Annie Hall
    A comedy with an ending more like a tragedy and with a tone that effortlessly fuses irony and sentiment, Annie Hall was an instant success that almost didn't happen. Use what you have learned about reverse engineering stories to better understand how to reach your ultimate (psychological) destination in a script. x
  • 12
    Big Wonder: Star Wars
    The influence of Joseph Campbell and the idea of an archetypal journey have long been credited as part of the success of George Lucas’s epic space opera. However, neuroscience has since debunked the idea of this “monomyth” and Professor Fletcher shows you how the power of the script comes down to something much simpler: childlike wonder. x
  • 13
    Charm: The Princess Bride
    The Princess Bride is the first film thus far that was not a hit on its initial release. Instead, its popularity grew slowly over time, engaging small audiences who were connected by a sense of being “in on the secret”—the essence of charm. Solve the riddle of how two different worlds can actually be the same and discover why community can be an important element of storytelling. x
  • 14
    Alienation Effect: Do the Right Thing
    Most Hollywood films use simple but strong emotional effects to lull audiences into an easy enjoyment in a world with moral certainty. But some movies want to make you think critically and offer no easy answers. Ambivalence can be a crucial tool for writers who want to challenge audiences and this lecture will show you how it can be used to powerful effect. x
  • 15
    Redemption: Unforgiven
    The gritty soul of the Western genre was revived by the release of Unforgiven—a film that is not just a lesson in great genre writing, but in how to bring old stories back to life. Look at the ways the various story elements help create an anti-hero audiences will root for as you explore how a seemingly forgotten genre can be revived with the right script at the right time. x
  • 16
    Surreal Connection: Pulp Fiction
    Film scripts often use literary techniques to build the story world, form characters, and set the right tone. By adopting a collage method taken from the surrealist movement, Pulp Fiction shows that visual arts can influence story in much the same way. Explore the various ways connections can be made between seemingly unrelated characters and events. x
  • 17
    Big Sympathy: Toy Story
    How did a film that began as a computer demo become an unexpected smash hit? Solve this mystery as you discover why having an engineering mindset can be a great advantage in screenwriting, and reveal how Pixar changed the direction of Disney films for years to come—by looking at a surprisingly dark side of storytelling. x
  • 18
    Existential Meaning: Fargo
    Some films defy easy explanation. Fargo is an eccentric story that uses its oddities to its advantage—like delaying the appearance of the main character for almost a third of the film. Explore existentialism and see what can happen when writers stop thinking about fixed structure and focus on the desired result. x
  • 19
    Film versus Television: MASH and M*A*S*H
    Begin your transition from the big screen to the small by looking at the different ways television and film scripts approach storytelling. See why the conflicts and plotting of TV must operate differently from film to sustain story over time and how you can determine which format is best for the kind of story you want to tell. x
  • 20
    Writing a Television Pilot: Game of Thrones
    Follow Professor Fletcher as he shows you how a television pilot works. Or, in the case of the original Game of Thrones pilot, how it doesn't. Compare the initial failed script with the later successful one and see how a story can be reshaped to better achieve its desired effect and discover why writing a TV pilot is like building an engine. x
  • 21
    The Sitcom: The Simpsons
    In the first of three lectures focused on successful TV genres, look at the longest running sitcom in television history, The Simpsons. This lecture shows you why jokes are not the key to humor; it’s all in the characters and their ongoing conflict with the world around them. Look at the episode “Duffless” and see how it works as a great example of sitcom writing. x
  • 22
    The Procedural: CSI
    The success of the procedural story harkens back to the Victorian heyday of Sherlock Holmes, whose adventures always followed a similar pattern but with important variations. This same technique drives the success of shows like CSI, as this lecture demonstrates by looking at the pilot episode, which encapsulates the show's combination of problem solving and problem making. x
  • 23
    The Prime-Time Soap: Grey's Anatomy
    See why soap operas are an enduring and brilliant form of storytelling, despite their reputation. By focusing on the subjective and the most primal of human emotions, soap operas allow viewers to experience deep feelings that may be difficult or absent in real life. Grey's Anatomy shows how the conflict between wanting to belong and feeling like an outsider can fuel this kind of storytelling. x
  • 24
    Becoming a Screenwriter
    Professor Fletcher concludes the course with a look at the ultimate goals of Screenwriting 101: to help you appreciate more film and TV; tell better stories; and write your own scripts. As he takes you through each of these points and sums up the scope of the course, he also gives invaluable practical advice on how to become a screenwriter from a professional perspective. And that's a wrap. x

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Your professor

Angus Fletcher

About Your Professor

Angus Fletcher, Ph.D.
The Ohio State University
Angus Fletcher is a Professor of English and Film at The Ohio State University and a core faculty member at Project Narrative. He has previously taught at Stanford University, the University of Southern California, and Yale University. He holds a Ph.D. in English from Yale. Professor Fletcher’s academic research into story science has been funded by the National Science Foundation, the National Endowment for the...
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Reviews

Screenwriting 101: Mastering the Art of Story is rated 4.5 out of 5 by 31.
Rated 5 out of 5 by from Excellent presentation I learned a lot watching this program. I'm going to watch it again so I can see if I missed anything. I recommended it to anyone who's interested in writing stories.
Date published: 2018-07-26
Rated 5 out of 5 by from Broadly applicable to all types of writing. Fantastic course. Well structured and presented. Story concepts applicable to all genre whether writing screen play, novel or memoir.
Date published: 2018-06-18
Rated 5 out of 5 by from My Personal Favorite I own nearly tree dozen Great Courses, and this is my favorite. I'm a geologist by profession and have enjoyed courses related to my profession, but the insights and way this course is presented was outstanding.
Date published: 2018-05-09
Rated 5 out of 5 by from Excellent Teaching Style I have read several books about the craft of writing and storytelling, attended workshops, and watched other tapes from The Great Courses on these subjects. "Screenwriting 101" is a quantum leap above the pack. Most "how-to-write" material is tough to get through, in my experience. In comparison, here I couldn't wait to get to the next lecture. I felt I was really getting to the heart of what makes a great story tick. In other words, this course provided a blueprint for crafting a story that was to the point, concise, and understandable. The focus here is really about storytelling, and can be applied to fiction writing in general, not just screenwriting. Professor Fletcher has a scientific approach to the craft that makes intuitive sense and provides a clear roadmap for effectively hooking your audience into your story. Examples from classic movies and popular and successful television series were used to illustrate the methods and nuances of several different types of story. The examples were not only entertaining, their familiarity made it easy to connect to the points that were being made. And the writing exercises were well conceived and helped to convey the point of the lecture. When I finished the course, I immediately went though the catalogue to see if Professor Fletcher has done any other lectures. He did a great job staying focused on the art of storytelling and presented his knowledge in a very relatable way.
Date published: 2018-04-21
Rated 5 out of 5 by from Story is Story, Whether Film or Print Even though I have no intention of writing a screenplay, I'm a writer of stories, from book-length to flash-fiction. This class had so many insights into story telling that apply to any genre. The instructor was incredibly knowledgable about classic story theory, based on ancient Greek philosophy. I was impressed!
Date published: 2018-04-17
Rated 5 out of 5 by from Great Product! This arrived within a few days of ordering. It is excellent and high quality. I'm glad I ordered it.
Date published: 2018-03-31
Rated 4 out of 5 by from Excellent content The course helped me write a short story right from the first module
Date published: 2018-03-18
Rated 5 out of 5 by from Received but not used, yet! I am very pleased with the service I've received from The Great Courses folks. They are knowledgeable, prompt and provide an excellent source of information. I have viewed all 24 sessions of "Writing Great Fiction", took copious notes, and learned tons about the writing process. However, I have not had a chance to even open the Screenwriting 101 DVD set. Sorry.
Date published: 2018-03-12
Rated 5 out of 5 by from Superb way to understand scriptwriting Screenwriting 101 has had a profound influence on how I think and discuss movies and television shows. Augus Fletcher is a masterful teacher, having the ability to prepare a course as he would a movie script. His course showed me how to examine films and TV pilot scripts by using a technique Fletcher calls, "reverse engineering." Fletcher doesn't take credit for this method; he explains that Aristotle outlined this technique long ago. Fletcher then takes the reverse engineering method to analyze film and TV scripts, finally showing the difference between them. As many times as I have seen Casablanca, Fletcher's insights using the reverse engineering method pointed out how to look for the cognitive effects, psychological effects, and major story components: story world, character, plot, and tone. Fletcher does this by starting from the final scene and working backward. He clearly states the reason successful scriptwriters can deeply involve me in a film. I highly recommend this course for anyone interest in understanding the vision media.
Date published: 2018-03-03
Rated 3 out of 5 by from Outside the box Thanks, TGC, for having the fortitude to green light this production because it’s not a typical course you find in the catalog. This kind of avant-garde course should appeal to movie buffs, screenwriters, writers interested in general character development and plot, etc. I’ve seen just about every movie and TV show spotlighted here or even mentioned (with the exception of Gray’s Anatomy and Game of Thrones), so the course was entertaining and educational for to me. It’s fair to say this course will help you to better appreciate films and TV. I had fun re-watching a few of these classic movies, too. That’s why it took a while to get through it. The nuts and bolts of this course? Step 1: Analyze the ending for its cognitive effect on the viewer. Step 2: Summarize the story world, characters, plot, and tone. Lectures 1-8 build a foundation so that we’re all on the same page regarding story components. Lectures 7-18 cover films, while lectures 19-23 go over TV shows. I found this organization helpful and logical. But I did have a few misgivings about the course. First, based on Professor Fletcher’s background with academic research into story science, I was expecting the role of neurology to play a much larger part in the content and how the brain responds to various narratives. It was touched on only very briefly. Secondly, despite having an entire lecture devoted to story beats, I’m still not exactly clear on the ins and outs of the concept of a story beat, what works or doesn’t, the timing/pacing, etc. I kept wondering if there any statistical difference in plotting story beats in different genres. I guess that would be further up the food chain in an upper level class. The movie studio themed set and stage was fine. I watched the DVDs for this course but they weren’t necessary. Professor Fletcher’s presentation style was just average because the boxer movements were repetitive and rather abrupt at times, like when your friend jumps out from behind a tree or bush trying to surprise you. Misspoke twice (e.g. child/adult in Star Wars lecture), not that I counted. And there was a “the the” typo in the Guidebook, I think. Worthwhile course but not great. Glad I got it, as it will impact the way I view films/TV.
Date published: 2018-02-25
Rated 5 out of 5 by from Great course for movie lovers Recently I signed up for the Great Courses Plus and out of curiousity decided to watch the first lecture, not really thinking I’d continue through the course. Right away the instructor captured my interest and my wife and I had great fun working our way through the course. A nice feature of the lectures is that the instructor would provide a brief introduction before letting the viewer pause the lecture so the viewer could watch the movie that matched the content of the course. The approach of using a specific movie to illustrate the concepts of each lecture was a winner. The course title is appropriate for the content—the course can serve as a first introduction to screenwriting while focusing primarily on story development. The course uses an approach one would expect from a university professor who includes historical concepts and content as well as ideas about writing.I learned a lot (including concluding that screenwriting looks like a challenging thing to do well) and great fun doing it. I think some of the previous reviews of the course are needlessly harsh. I’d certainly be interested in any future courses done by this instructor.
Date published: 2018-02-23
Rated 5 out of 5 by from Excellent course The professor gave great explanation and examples from a variety of genres. The course was very entertaining and informative. I have a greater understanding and appreciation for film making, writing and structure. I kept thinking of how his advice would help improve my screenplay. Very well done!
Date published: 2018-01-30
Rated 5 out of 5 by from This course is well put together. I learn to look at movies in a different way.
Date published: 2018-01-29
Rated 5 out of 5 by from Thorough, Detailed, and Shows Current Dynamics Going back to the original focus being the "story" was clearly shown with a vibrant energy. The Arts have always been dynamic in their updating growth while the classics maintained those necessary structures. With all the quantum leaps in communications and creative technology, our professor guided us, like Odysseus, through all the hype back home using classic scripts with great stories. Screenwriters, like sailboats, aren't created to stay safely anchored in a harbor. They're built to go out to sea seeking adventure. This class persuaded me to haul anchor, toss the lines, raise my sails and set a course windward out to blue waters.
Date published: 2018-01-13
Rated 5 out of 5 by from ON TARGET I bought this course looking for some insight into screen writing. I found the instructor to be engaging and extremely well versed on the subject. His method of teaching was much better than I anticipated. Finian Blake
Date published: 2017-12-13
Rated 5 out of 5 by from Not Just for Screenwriters Thoroughly enjoyed this deep dive into the scripts of some of my favorite movies. As a poet and writer myself, the course provided some very good insights into the art of story telling apart from just screenwriting.
Date published: 2017-12-13
Rated 3 out of 5 by from Course Correction “Screenwriting 101Mastering the Art of the Story” is a focused analysis of filmed stories using the proprietary algorithm of reverse engineering, a concept found in the hard sciences. This limits its usefulness for creating scripts in areas other than entertainment, for example, biopics, documentaries, and instruction. Here are some considerations that could maximize this course’s effectiveness: •identification of the group for which this course is intended; •a well-rounded background in English literature such as the Professor’s; •an appreciation of expository writing; •a fertile imagination; •a keen perception of the nuances and subtleties of the human condition; •a distinction between writing a play for theater versus that of a film script; •a perspective of the contribution to a film’s success beyond the script made by the actors, the director, and supportive services such as music, lighting, sound, etc. •a review of the purpose of visual media in general, realizing that it goes beyond entertainment, and includes instruction, education and creating an historical record; •a discussion of the obstacles encountered in adapting other forms of literature to film, since they would be likely encountered when completing additional course work suggested at the completion of each lecture. Using selected portions of written scripts (but not actual films) as a source for creating templates of film genres, Professor Fletcher analyzes how each film follows the template and how they add to the effectiveness of the film. Using the appropriate template in formulaic fashion, it is theorized the student will have the same success as that of the derivative film. It is akin to rewriting lyrics to a popular song hoping to duplicate its success. An essential component of effective teaching is that the instructor makes the study material easy to learn. Even though it may be au courant in teaching contemporary story science, I found terminology such as “story world” instead of time and place, “cognitive effect” instead of emotional state, “beat” instead of scene, and “reverse engineering,” instead of plot analysis not helpful. Indeed, the analysis of some films in Professor Fletcher’s presentations borders on “academic speak,” that is using proprietary jargon that sounds learned but on reflection eludes understanding. A major skill taught by this course is to begin by capturing a story’s cognitive effect on the audience, so it can be duplicated. I suppose some would find this kind of surreptitious emotional manipulation rewarding. In any case, this may not be predictable, given the disparate nature of the general audience. An older, more meaningful and more measurable goal is to deliver a “message” that supports healthy personal growth, stable societal development and a deeper understanding of the human condition, rather than considering an exposition of vicarious forms of depravity. I agree with the viewpoint that gratuitous use of expletives reflects a failure of a literate person to meet a syntactical challenge (in Lectures 14 “Unforgiven” and 15 “Pulp Fiction”). Professor Fletcher’s emphasis on capturing the emotional gestalt in preparing scripts, and its effect on audience entertainment satisfaction, is especially evident in the exposition on scripting a soap opera (Lecture 23 “Grey’s Anatomy”). In his analysis he describes an approach that may be beyond the profundity of general audiences, whose attention may be generated by the expectation of voyeuristic and/or prurient interests. The numbering of this course by convention suggests it is basic or beginning. The content of the course, for example, writing scripts for esoteric genres, like surrealism (lecture 16) and existentialism (lecture 18), suggests otherwise. In keeping with a contemporary university convention, the course numbering rather than 101, should more likely designated 52XXX, indicating it is an advanced tutorial course. If the “101” in the title simply means a beginner’s course, it is misleading for this fast-paced, complicated series of lectures.
Date published: 2017-12-11
Rated 5 out of 5 by from excellent presentation We have several classes by this instructor so when I saw this one I could not help but purchase it. I was not disappointed. He combines history with fun facts and personal input and does it effortlessly. If you enjoy learning about the "way west" for our country plus some interesting tidbits about the "cowboy culture" and Hollywood this is the class for you.
Date published: 2017-12-05
Rated 1 out of 5 by from Screenwriting 101 I have an extensive screenwriting background and I found this series to be totally useless. The author is overly verbose in saying the same things over and over again, in contradicting statements and adding nothing of importance the the craft. If you're going to offer this course, then get someone more skilled in the topic. Its hard for me to believe he has the credentials that are stated. No Directer, Producer, or anyone of importance in the film industry would put up with his inane rambling and and totally useless statements which he declares as fact, and then later contradicts. This review is from someone who has written 3 screenplays with one a semi-finalist in a national competition. I want a refund! .
Date published: 2017-11-29
Rated 4 out of 5 by from Tons of great information for all kinds of stories As a novelist, I bought this class to better refine my craft. I have not written a screen play, and yet this course offers a lot of helpful ideas just for putting basic stories together. The profession has a wealth of information, and tons of great ideas. He is supremely intelligent, yet not at all condescending. He takes he complex issues and brings them to a level where anyone can understand. He repeats main points effectively, and I appreciated his information very much. I found it applied to my novel writing better than I expected, Very happy about that. The only downside, and it is a minor one, is on his delivery style. He but does race through the material a bit too fast for me. His delivery is articular and concise, but pace is just a tad faster than I found comfortable. Also, his body language is basically two gestures. 1. steepling his fingers (probably 85% of his delivery) and what I call a boxer pose, with both hands up and extended toward the camera (about 10% of his gestures). These habits are not too distracting. What did bother me more, was the interjection of screen graphics, most often a graphic of a film strip with numbers counting down. That is shown repeatedly as the profession is shifting to a different camera angle. It just did not work for me and was overdone. I would rather see the professor step to the side and re-position himself. No fly in graphic to distract. Overall a good class. Well worth the money, And applies to a myriad of different people who are involved with story creation. From authors, like me, to screen play writers, to film makers, to anyone just wanting to craft a better story.
Date published: 2017-11-29
Rated 5 out of 5 by from law school for everyone isn't what you'd think Examples I can relate to. I lived through the trials.
Date published: 2017-11-27
Rated 5 out of 5 by from Modern insights into the craft A course that is clear and straightforward, without getting bogged down in old rules and misunderstandings. I have read some other screenwriting books but this is just the course I was looking for. It gives you enough to free your mind to create.
Date published: 2017-11-26
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