with Emmanuel Oberg
Based on Emmanuel Oberg’s bestselling book Screenwriting Unchained, this session is an introduction to his internationally acclaimed 3-day Advanced Development Workshop.
What’s In It for You?
Feeling bored, confused or constrained by the old paradigms? Yet you’d like to write a tightly structured screenplay that sells? It’s time to reclaim your creative freedom and master story structure!
In this session, Emmanuel introduces a refreshingly new approach to screenwriting that leads to a powerful yet flexible way to handle the script development process: the Story-Type Method®.
Having identified three main story-types – plot-led, character-led, theme-led – he explains how each of these impacts on the structure of any screenplay, and how we can use a single set of tools to develop any story, from an independent crossover to a studio blockbuster.
Crucially, he also looks at hybrids and exceptions, those unique gems that don’t fit any of the story-types but still work beautifully because they follow the same principles, just in a less classical way.
This session is aimed at screenwriters of all levels of experience keen to reach a wide audience at home and abroad without compromising their creative integrity.
If you’ve ever questioned why screenplays should be structured in three or five acts, eight sequences, fifteen beats or twenty-two steps then this session was designed for you. And if you never have, well… no time like the present!
Using many examples and clips from films as diverse as Gravity, Frenzy, Silver Linings Playbook, Cloud Atlas and The Lives of Others, this session will transform the way you write, read, pitch, design, assess and develop screenplays, both for film and TV.
Appearing in this session
Credits include Double Game; author of the Story-Type Method® series of books
Screenwriting for Film & Television
The perfect blend of action, adventure and romance, Poldark was one of the most watched shows in Britain. Meet Debbie and the team and find out how it was written, why it was such a success and how to keep audiences coming back, season after season.
How to identify the elements that lead to getting sold and produced. Adaptations are so ubiquitous: about half of Hollywood movies are adaptations, which also includes movies based on real people. An interesting novel doesn’t always become an interesting movie, nor does an interesting life.
With the global video-streaming market expected to be valued at over $125 billion dollars by 2025, the trend is clear: the streaming market is not just for tech nerds anymore. Come to this panel for the best strategies to find your audience on Netflix, Amazon, YouTube, or elsewhere in the exciting world of streaming.
Get your TV project in the best shape it can be for both a competitive and exciting marketplace in 2020.
From Miss Marple to Dana Scully, numerous renditions of female TV detectives have always styled out the televisiual crime scene. This panel discusses why she holds such a fascination for the viewer, how writers have evolved her across the years, and where, in a post-Me Too landscape, she is likely to head next…
For the third straight London SWF, we bring this thought-provoking, mind-opening session to screenwriters. The Female Gaze returns. With some of the most groundbreaking and trailblazing wonder women in the industry, we continue the conversation that affects ALL of us.
We all do it. Imagine our favourite actors saying our lines, maybe even write roles for a specific actor – without any notion of how to make that fantasy a reality. In this session, you will hear directly from professional actors what they look for when a script comes across their desk, and what turns their ‘Maybes’ into ‘Yeses’.
Ever wondered what it’s REALLY like inside the writers’ room? How does collaboration work? How do you crack a story? What happens when the ideas dry up? Or when no one agrees? Get the inside scoop from TV legend Tony Jordan, experienced showrunner and creator of some of Britain’s best-loved shows.
Watch the Channel 5 movie Susan Hill’s Ghost Story and hear how writer Barbara Machin, producer Jane Steventon and director Justin Molotnikov took this low-budget feature from inception to transmission in under a year and the challenges they faced.