The Scriptfella Program – Dominic Morgan

The Scriptfella Program: Radically Improve Your Writing In 28 Days.

Learn to Write For The Hollywood Reader

Learn how to use language to bewitch industry readers and keep them reading.

Discover your voice as a writer and use it to get noticed by managers and agents.

Learn how to cure the biggest disease of amateur screenwriting: overwriting.

Do away with dull description. Excite the reader with cinematic language, sound design, and imagery.

Access intensive screenwriting tutorials that will help you improve the marketability and readability of all your scripts – past, present and future.

Develop the critical skills to distinguish what you should put in the script and what you should leave out.

What You’ll Learn In The Scriptfella Program

Ground Zero – Week One

• Why You Need To Hijack The Hollywood Reader’s Brain
• Cinematic Vs Instruction Manual Writing

Cinematic Screenwriting – Week One

• The Five Visual Elements – A Belt & Braces Primer
• How To Write For The Camera
• How To Write A Cinematic Sequence Free Preview
• Assignment 1: The Shot Game
• How To Create Moving Camera Shots On The Page
• Assignment 2: Page 1 Image Bombs
• How To Use Costume & Props In Your Script
• Acting On The Page
• Optimize Your Locations
• 9 Ways To Light Up Your Screenplay
• 9 Ways To Light Up Your Screen Play – Case Study, 1917 (wilson-Cairns)
• 9 Ways To Light Up Your Screenplay – Part Three
• 9 Ways To Light Up Your Screen Play – How To Use Colour Psychology On The Page
• The Sixth Element – Sound Design
• Reader Psychology
• Assignment 3: Write Like Renato

Narrative Voice – Week Two

• Narrative Voice – The Lowdown
• Narrative Voice – The Princess Bride (goldman)
• Narrative Voice – Promising Young Woman (fennell)
• Narrative Voice – The Brigands Of Rattleborge (zahler)
• Narrative Voice – The Good Wife (king & King)
• Narrative Voice – A Cautionary Tale (morgan)
• Narrative Voice – Is Alien Really A Good Read?
• Narrative Voice – Shawshank Redemption (darabont)
• Narrative Voice – 7 Lessons
• Assignment 4 & 5 – Narrative Voice Switchup

Immersive Screenwriting – Week Two

• Sentence Constructions – Why N.v.o. Rocks
• The Clause Opening – A Major Banana Skin For Screenwriters
• The Perils Of The Passive
• Vanilla Verbs – Hunt Them Down
• Vanilla Adjectives – Search & Destroy
• Suboptimal Verbs – Is & Are
• The Present Continuous – When Should You Use It?
• We See & We Hear – Do You Want To Detach The Reader From The Characters?
• Assignment 6 – Immersive Screenwriting – Rewrite Page One Of Baby Driver
• The Close Proximity Disease
• One Shot Word Weapons
• Scene Geography – Don’t Get Stuck In The Bocage
• The Ten Diseases Of Dialogue (and Cures) – Part 1
• The Ten Diseases Of Dialogue (and Cures) – Part 2
• How To Master A Character Introduction – Six Techniques
• The Tricky Team Character Intro
• How To Name Your Characters
• Why You Need To Fight For The Inches On The Page
• Assignment 7: The Copacabana Oner

Line By Line Training – Week Three

• Elkington’s War – By Matthew Skeate
• The Witch – By Roberto Gerardo
• Killer Ratings – By Jack Carey
• Promiseland – By Doug Tucker

Optimize Your Screenplay – Week Four

• How To Hook A Reader On Page 1
• The Title Page – Just The Facts
• Page One – Page Design
• The Opening Image – Your Whole Story In One Picture
• How To Open A Movie On Page One – Narc (carnahan)
• The Final Assignment: Optimize Your Page One For The Hollywood Reader
• Screenplay Library
• Learn From The Pros By Reading Produced Scripts

More courses from the same author: Dominic Morgan

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