Ahead of her outstanding two day masterclass at Ealing Studios on the 22nd and 23rd of October, I thought I would share Linda’s first chapter from her groundbreaking screenwriting book.
Linda is the worlds leading expert in non traditional structure, such as fracture narratives, multi protagonists, parallel narratives and time jumps etc. So if you script uses any of these advanced story structures, and you need to get a better handle on them, then this class will be a revelation.
Passes are £139 but you can get £40 off with the code LONDONSWF.
Sign up HERE…
‘I was open mouthed at so many fantastic ideas!’
Debbie Manship, Writer
‘I was open mouthed at so many fantastic ideas!’
Debbie Manship, Writer
‘This is the course I have been waiting for – an in-depth explanation and analysis of modern screenwriting structure that will help me in developing my screenplay into a unique, original and groundbreaking script – ten out of ten!’
Alexander Denye, Screenwriter
‘I’ve been struggling with my script for some time. But on Saturday night, halfway through the course, I restructured successfully using one of Linda’s parallel narrative structures’
Ian Dawer, Screenwriter
And here is the first chapter…
EXCERPT FROM ‘THE 21st CENTURY SCREENPLAY’ by Linda Aronson
Chapter 1 – Creativity and general problem solving
Chapter 1 – Creativity and general problem solvingTHERE ARE MANY THINGS that a writer cannot control in the film industry. What we can control are the ideas we choose for our scripts. The most important ingredient in screenwriting is a first-rate film idea.
This may sound obvious, but in fact many very talented writers do not fulfill their potential to write world-class scripts because they choose ideas which, while interesting and deeply felt, unfortunately, are simply not strikingly original enough for the highly competitive, expensive medium of feature film, particularly now that feature film has to compete for market share with drama from an ever-increasing number of platforms.
Of course, we should all be passionately committed to the films we are writing, but there is no point in writing a script that has no chance of being made, and this means asking the hard questions, and asking them early. The question to ask is not so much ‘Do I passionately want to write a film on this topic?’ but rather, ‘Is my film so vividly original that audiences all over the world will go to the cinema on a wet Monday night to see it?’ (This is particularly important for art-house films, as they already have a limited demographic.)…
READ THE ENTIRE FIRST CHAPTER HERE… (You should, it’s THAT good)
Posted by a member of the London Screenwriters’ Festival team.
