Our Creative Screenwriting Course is a ten-week on-line course that runs you through the essential skills required by anyone who wishes to write for either film or television. Join Michéle Rowe and Richard Beynon, two immensely experienced screenwriters and course facilitators, and learn the nuts and bolts of television and film writing that’ll give you the basic toolkit you need to start writing scripts for local shows.

Starts 8 October 2018

COST R 6 000

Also payable in three tranches of R 2 000. Please email us if you’d like to take advantage of this option.

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We’ll introduce you to the key tactics and strategies of master screenwriting from how to craft a killer opening scene, to developing characters, writing scenes and dialogue, and structure.

Each module includes exercises designed to get your juices flowing, as well as an assignment that we’ll respond to with direct and substantial feedback.

Starts 8 October 2018

COST R 6 000

Also payable in three tranches of R 2 000. Please email us if you’d like to take advantage of this option.

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INSPIRATION AND ENCOURAGEMENT

You’ll be tutored by two passionate industry professionals, with decades of experience and many screenplays and television scripts to their credit, who will guide you every step of the way.

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PRACTICAL SKILLS AND TECHNIQUES 

We will teach you the essential elements involved in writing for film and television from how to craft a killer opening scene, to developing characters, writing scenes and dialogue, and structure.

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SUPPORT, FEEDBACK AND COMMUNITY

Each module includes practice exercises. Receive full written feedback on ten assignments. Interact with a friendly community of fellow writers.

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PROFESSIONAL INDUSTRY STANDARDS

Our courses are designed to provide the skills, tools and inspiration every writer needs to craft a story. The outcome will be a deeper understanding of what it takes to write your dream screenplay. 

COURSE OUTLINE – A GUIDE TO CREATIVE SCREENWRITING

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MODULE ONE: WHAT EXACTLY IS A SCREENPLAY? We explain the key differences between writing for the page and writing for the screen and the technical and dramatic differences between the different formats: film, dramatic tv series, and soap operas. We consider what’s involved in adapting stories written for the page, for the screen and what a script looks like – and why.

MODULE TWO: It’s the duty of the screen or script writer to capture the attention of the viewer in the opening scene – whether it’s a blockbuster super-hero movie, or the teaser opening of an episode of a soap. We’ll explore what makes  THE KILLER OPENING SCENE.

MODULE THREE: Stories only come alive when our characters are confronted with a challenge of some sort.  But it all begins with The Inciting Incident. We consider how to KICK-START YOUR STORY.

MODULE FOUR: Great stories are wasted on two-dimensional characters. Every story deserves a compelling and interesting protagonist who wants something – and a matching and equally compelling antagonist who wants to prevent her from getting it. We’ll show you the secrets to CREATING GREAT CHARACTERS.

MODULES FIVE: SCENES are the building blocks of any script. Whether they’re provocative, shocking, thoughtful or simply dramatically satisfying, they must maintain the momentum of the story you’re telling. Scenes are mini-stories in their own right. They too have a beginning, a middle and an end.

MODULE SIX: Although both film and televison are essentially visual in nature, DIALOGUE plays an essential role in the unfolding of the story, and the presentation of character. Dialogue isn’t quite speech: it is clearer, less repetitive and richer. But it has to sound like real dialogue. We’ll show you ways in which to achieve these apparently mutually exclusive objectives.

MODULE SEVEN: We learn about VISUAL WRITING by exploring the techniques of writing a scene without dialogue, using the power of the image to tell the story, and revealing character.

MODULE EIGHT:  TENSION AND SUSPENSE in stories is created when questions are asked – and the answers are delayed. In film, foreshadowing is used quite deliberately to anticipate dramatic action, to “set the scene” for drama to come.

MODULE NINE: Writers keep their audiences glued to the screen by constantly and incrementally UPPING THE STAKES. But the stakes are doubled and quadrupled by the internal contradictions within characters. Competing loyalties constantly push characters to and beyond their limits.

MODULE TEN: In this final module, we will reveal the secret magic of structure, using the popular method known as THE HERO’S JOURNEY.

Michéle and Richard, both professionals in the trade, gracefully sculpted my entire outlook on story telling… it’s a course that opens your eyes and grants you new perspective, something every writer needs.

Nadine Cloete, Johannesburg

Michéle and Richard’s feedback was invaluable and I am so grateful to have had their guidance throughout the process. It really helped to have the weekly feedback so that I could shape and develop the story as we learnt about the various aspects of scriptwriting in the course. I felt as if I had some major breakthroughs.

Sheona Mitchley, Johannesburg

A big thank you to Richard for opening up your wealth of knowledge and understanding to us. As a young filmmaker, I consider that a great legacy that you are passing on to some of us. It’s an honour and a privilege.

Amukela Moyo, student AFDA

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Who should do the Guide to Creative Screenwriting course?

If you’re a wannabe scriptwriter, then The Guide to Creative Screenwriting will lay the foundations for a career in television or film in this country.

If you’re already active in a different area of film and television production, then The Guide to Creative Screenwriting will broaden your perspective and give you insights into both the challenges and the possibilities of creative screenwriting.

And if you’re an enthusiast who devours soaps, streamed series and movies, then The Guide to Creative Scriptwriting will broaden your understanding of the medium by unveiling the secrets that lie at the birth of tv and film drama.

The course is also suitable for professional or semi-professional writers working in other mediums, such as journalists, playwrights or novelists, who wish to acquire an added skill.

How does the course work?

The course is run through our online platform.

Each week for ten weeks we’ll introduce you to the key tactics and strategies of master screenwriting.

The modules are filled with practical advice and dozens of examples of writing that can serve as models for your own.

We dreamed up exercises that’ll thrill you – and assignments that’ll bed down your new skills and to wich you’ll receive direct and substantial feedback.

You’ll also be able to interact with your fellow course participants. We’ve found with all our other courses that the more online participants interact with each other, the more everyone benefits.

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Who are we?

All About Writing was founded  in 2007 by two writing professionals, Jo-Anne Richards and Richard Beynon, who are passionate about writing.  We’ve devised our courses to help communicate that passion – plus the skills that make it all much more than an academic exercise – to others with a similar calling.

The facilitators

Michéle Rowe is a scriptwriter who has worked primarily as a head writer and story originator for television and film. Projects Michéle has originated, written or directed have been nominated for or won various awards, including an Oscar documentary and an International Emmy nomination. At present she works as a script editor, teaches screenwriting and is completing her third novel for Penguin. She has a Master’s Degree in Creative Writing from the University of Cape Town.

Richard Beynon is a story consultant and an award-winning film and television scriptwriter with a long and accomplished career in the industry. He has written for – or headed the storytelling teams of – many of country’s most popular soaps, dramas and comedies. These include S’gudi snaysi, Going Up, Soul City, Isidingo, Scandal, Rhythm City and Isibaya. A former journalist  for the Rand Daily Mail, he has conceived, shaped and written scores of documentaries. He has lectured on writing for film and television at Wits.

With Michéle and Richard’s many decades of professional writing, film industry and teaching experience  you’ll be in very capable hands.

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