It is suggested you do everything in the order shown on this page.

PRE-FRESHMAN (aka. High School):


Read and studied the following:

• "Anybody Can Write A Screenplay" (Parts: 1-3) - by Anita Sands
• "Understanding the Process of Storytelling" - by Bill Johnson
• "Dramatic Strucure, 3 Act Plot" - by Charles Deemer
• "The Screenplays of Quetin Tarantino" - by Charles Deemer
• "Screenwriter's Master Chart" - by Mary Shomon
• "MegaPlotter" - by Andrew Ferguson
• "How To Write A Really Good Logline" - by Wendy Moon
• "Tips For Writers" Archives (all) - by Rob Gallagher
• "Screenplay Format Sample" (from Nicholl Fellowships)

• "Points for Style" - Column #23
• "Death to Readers" - Column #5
• "Plot Devices" - Column #32
• "The Task" - Column #30
• "Strange Attractor" - Column #2
• "The 36 Dramatic Situations" - Archive File (Polti)
• "Name-dropping" - Column #9
• "A Hot Script" - Column #31
• "Door Number Three" - Indy Pros Feature (Bill Marsilii)
• "Title Search" - Column #24

• 16 Steps To Better Description
  
• Action Subgenres
  
• Personal Injuries (effective violence)
  
• Die Hard Analysis
  
• Blockbusters on a Budget - Part I
  
• Blockbusters on a Budget - Part II
  
• Haunting Images
  
• Heart Transplant
  
• Hitchcock's Chocolates
  
• Something About Private Ryan
  
• Do You Take Charge? (Protagonists)
  
• Ten Dialogue Tips
  
• The Job of Screenwriting
  
• Title Decision
  
• Carts & Horses
  
• INDEPENDENTS: Dog Juice
  
• Organic Action
  
• INDEPENDENTS: "12, 18, 24: Three Kinds of Scripts"
  
• Direct to Video
  
• "STORMY, THE WILD MUSTANG" a treatment
  
• "THE GHOST" a Treatment
  
• Optional:   Screenplays by Bill Martell - free online

"Scream" - (168k) Almost a spec, ignore camera direction

Assignments:

Important secret . . .

Use 3x5 index cards for each stage of the development of your script.  For: ideas, research, outlining (by Acts, Sequencing, Scenes [sluglines]), short character profiles, etc.  It's much easier adding, moving and removing aspects of the story with cards than it is to re-write and then you still find some things that need adjusting or improving.  This is especially beneficial for those that like to read a hard copy to check the flow and quality of their script, because it will save a lot of paper and expensive printer ink.

The Big Idea (Developing & Testing It)

The idea could come to you any time or place.  If you don't already have a few in mind then why are you here?  Having an idea isn't enough, you have to know what to do with it.  Now that's a reason for being here.

The basic themes are not new, which you'll learn later in the Curriculum.  What must be new is your original approach, that unique element or chain of elements that will be in your story.  Terry Rossio of Wordplay calls it the "Strange Attactor" and that is what you are looking for and/or need to develop into your idea(s).

How do you do this?   Here are some ideas...

• Is it original, unique and compelling?
• Do you like the subject?  Are you knowledgeable of the subject(s)?
• While doing extensive research allow the idea to develop and grow.
• After extensive research -- brainstorm, use "clustering" and write it all down.
• Keep 3x5 cards with you so you can write down any idea or add to an idea at any time.
• Does it deal with a current moral or political issue somewhere within the story?
• If you've seen it or heard it in a movie don't use it.   Change it in some form.  Original.  Original.  Original.
• Will it intrigue the audience?  Will they relate to it emotionally, in a personal way?
• Is it marketable?  Is it High Concept?  Can it be summarized in one sentence?
• Does it look like it can have a sound Premise?
• Is the story so strong that it doesn't require famous movie stars?
• Does it have a starring role (and supporting roles) that actors (high priced or not) will want to play?
• Are there several additional original ideas that can be incorporated and related to your central theme and premise?
• Does it have international appeal? (Foreign markets can be up to 60% of a movies profit).
• Does it translate to a story with a beginning, middle and end?

Preliminary Summary

This stage involves the general idea(s) for your story.  It should simply be a page or two of single spaced text summarizing your story.  You just want to get the basic story idea on paper.  You should also list the areas that you will be researching, questions that need to be answered, etc..  After the next step (Research) the Preliminary Summary may be completely revised because of the things you learned in your research.  This is okay, just make the updates in the Freshman Synopsis.

You can discuss your summary in any of the PHT areas.

Research

The easiest way to begin research is to use the vast wealth of information that is available on the internet.  Start with using a few search engines to seek out information about particular subjects related to your story.  What you can't find there may be found through the public library system.  After that you may have to borrow or purchase specific books on certain subjects.  Only skip this step (Research) if you are already very familiar with the subject matter of your story.  There is no substitute for comprehensive research of all areas of your story!  This step if vitally important to the success of your screenplay for several reasons.

• Inadequite research is one of the first mistakes that new writers often make.
• It will increase the odds of having the current facts on the subject.
• It will help insure plausibility by having the facts straight.
• It decrease writers block.
• It will increase creativity.
• It helps stimulate ideas for the story, for the action and the characters.
• It helps in discovering the "Strange Attractor."

Develop a research system to keep track of the important information that you find.  One suggestion is 3x5 and/or 5x8 index cards.  They are easy to manipulate, organize and store.

If you have trouble researching specific subjects seek assistance via PHT .

Do the research before going on to the next step, The Synopsis.

To assist you SW is developing a Research Resources Page.



FRESHMAN:

Read and study the following:

- "Correct Format for Screenplays" - Stanton & Associates Literary Agency
- "The S.A.N.D. of Screenwriting: Basic Script Format" - SW
- "Story Structure Paradigm Examples" - SW
- "The Task" - Column #30   new
- "The Spec Script" by Andrea Leigh Wolf   new
- Tips for Successful Screenwriting by Craig Kellem   new
- About Lew Hunters "17,85,110" script structure on C. Deemers site   new
- "Beginning the process--Create Your Story" by Barry Pearson   new

And from the Screenwright: The Craft of the Screenwriting website.

Read:

- "Foundation Principles of Storytelling", by Bill Johnson.
- "The Rules of Screenwriting", by Michael Hauge.
- "The Foundation of All Screenwriting", by Michael Hauge.
- "Steps of Screenwriting", by Brad Mirman.
- "7 Steps to a Solid Screenplay (part one)", by David Trottier.
- "7 Steps to a Solid Screenplay (part two)", by David Trottier.
- "About high concept"
- "Dramatic Structure and the Screenplay Paradigm", by C. Deemer.
- "More about structure", Otto Kitsinger
- "4-act paradigm"
- "7-act paradigm"
- "9-act paradigm"
- "Screenplay format"
- "Writing Dialogue", by Brad Miran.

From Richard Toscan's "The Playwriting Seminars", read almost everything!

There is too much to list it all here.  Just read everything that you feel pertains to screenwriting or interests you.  This is a very valuable screenwriting website.  SW doesn't agree with everything said there.  If questions should arise, post them on the message board or use PHT .  NOTE: Toscan's website is mainly geared towards playwriting, not screenwriting, but you will still find valuable information.

- "Understanding What A Story Is"
- "Techniques To Create a Story Premise"
- "Creating Dramatic Characters"
- "Understanding How To Create A Dramatic Plot"
- "Anatomy of a Plot"
- "Perceiving What's At Stake In Your Story"
- "The "Why" of Dramatic Dialogue"
- "Seeing Story Movement"
- "Writing A Story Synopsis"
- "Rate of Revelation"
- "Characters and Premise"
- "Characters and Story Movement"

Read the following screenplays.

     "Eight Millimeter" - (265k) Spec Script      And . . .

     "Gattaca" - (208k) Spec Script

Supplementary:

We have a separate page of supplementary screenwriting links that are very good websites but are not currently part of the SW curriculum.  They are not required reading.  We suggest you look them over to see if they can help you.

SW Supplementary Page

Assignments:

The steps you will take (details below) are: Synopsis, Character Profiles and Outline (outline and char. prof. are done simultaneously) , and then the first 15 pages of your Script.

It would be very helpful to read "Plot/Structure" on About.com / Screenwriting before you begin the next steps (Synopsis, Outline, Profiles, etc.).

Synopsis

The Synopsis has several aspects: Premise, High Concept, Strange Attractor, Logline, and the Summary.   See the "SW Summary Guidelines" text file for details.   Use PHT when it is ready (or post any questions).   Don't worry about it being perfect.   When you are satisfied that you understand each area and have reasonably good answers for each area then go on to the next step, "The Outline".

Next is Character Profiles which is followed by the Outline.   Character Profiles and the Outline are best if done simultaneously.  

The Character Profiles

Compose a first rough draft of character profiles.   Sometimes the characters must change as the story is perfected.   The story determines the characters best suited to tell the story.   Some won't like this but... Story dictates the characterizations needed, not character dictates story.  Building a story from character (in the pure sense) is better manifested in plays or novels.  You can experiment later, once you have master the craft of screenwriting.

SW has created a Character Profile Template (text version) for your convenience.   Use it for each of the main and secondary characters in your story.   It's up to you if you want to use it for very minor characters.   The Character Profiles at this point are just rough drafts and do not need to be complete.

It is also highly recommended to read "Character" on the About.com / Screenwriting website.

As well as "Character Development Center" on the Character Pro™ For Writers 2.0 website.

The Outline

Compose first draft of script story/plot outline in stages (steps).   Do not start writing the screenplay until the outline is completed.

As you complete each step of the outline (act 1, act 2 etc.) use PHT for feedback.

We can't emphasize enough the importance of asking questions if you are not sure about something.   It's inevitable that there will be re-writes of each part of the project, but making sure you understand what is required will keep the re-writing to a minimum.

Some find it helpful "carding" your story (3x5 index cards) or using TreePad or Outliner (see Students Info Page) as a first step.   We highly recommend you use the "Master Chart" template in developing the outline (in general) and the screenplay (specific page numbering).

1. Guidelines:   You can use the SW Guidelines for Outlines if you like, to learn the specifics and see an example of an outline (they are the old requirements, no longer required).   Also the "The Basic Outline" on About.Com/Screenwriting can be very helpful.

2. ScriptREADER:   Use the ScriptREADER text file as you work on your outline to make sure that you are incorporating all the aspects of a good screenplay.

3. Three Act Paradigm:   SW highly suggests you use the 3 Act story form for your "first" script, or a close variation thereof.   We provide a text file version of the "Screenwriter's Master Chart" (stryplot.txt) - by Mary Shomon.   The "Master Chart" will work for both Action and Theme based scripts.   Use it as a template (model) for your outline.

4. First Act:   You can work on the entire outline but at this point you should just develop the first act.   It may require changing in the future, but that will be delt with at that time.

5. Second Act:   After the first act has been completed and you get some good feedback from PHT you can develop and submit the second act.   Include the first act when you submit the second act.   At this point, there should be an analysis of the relationship between the first and second act.   Get assistance from PHT.

6. Third Act:   At this point, there should be an analysis of the entire story in relation to the second and third act.

• Read "Dialogue" on About.com / Screenwriting
• "On The Nose Dialog" - you need to read this.

- Introduction
- Characters
- Objectives
- Conflicts
- Plots
- Storys
- Scenes
- Emotions
- Humor
- Cinematic Structures
- Scene-by-Scene Script Analysis of Megahit Movies

SW use to only require you read one of the five movies in this chapter.   But we highly recommend you read all five.

- Story, Themes & Human Values

Crafty Screenwriting by Alex Epstein, from the "Absolute Write" website.

      Read: Beginning and Intermediate sections, at the least.

Also read the following on WORDPLAY/FADE IN:

"A Foot in the Door" - Column #1
"Beachcombing" - Column #3
"Impressive Failure" - Column #8
"The Audience is Listening" - Column #10
"It's Been Done" - Column #12
"The Big Finish" - Column #13
"Anthropic Principle" - Column #14
"We're Not Worthy" - Column #36
"The Off-Screen Movie" - Column #40
"Throw in the Towel" - Column #34

Also:

"Creating Powerful Opening Scenes" by Michael Hauge

Read the following screenplays.

     "Unforgiven" - (239k) A spec script

     "The Game" - (252k) Almost a spec, ignore camera direction

Assignment:

The Script: First 15 Pages

Next, write the first 15 pages of your script.

Use PHT when you feel it is ready to be viewed.

By now you have read about the basics of what a screenplay should look like and read like.   Of course, your screenwriting software handles the format but you need to know the standards of the industry, because you are becoming a screenwriting expert.   Only 15 pages are required to help discover any knowledge gaps concerning good screenwriting form early in the writing process.   Also, it's to make sure the script has a good "hook" and it marks the "direction change" point on the Master Chart.   If a production reader is not hooked in the first 10 or 15 pages they will probably stop reading your script.   Actually, the truth is that they must be hooked on page one and if you can hook them with the first sentence a god flag goes up that they are possibly reading a great script.   So this step is crucial.   If possible, refer back to your reading material and/or notes if you have any questions before asking them on the message boards.

Ulimately, your goal is to make your script a "page turner"; every page designed to make the reader want to continue.   EVERY PAGE!

Use the ScriptREADER text file to make sure your first 15 pages are on target.

Get PHT feedback.

You already read "How to Write Really Good Loglines", by Wendy Moon (The Internet Screenwriters Network).   Also read, "The Anatomy of a Logline" by Rob-Gregory Brown.   One of the best ways to learn this aspect of the craft is to read the real thing; for this visit "Done Deal's - Script Sale Page".

JUNIOR:

Read and do all of the following:

Read weeks 7 and 8 text from the Screenwright: The Craft of the Screenwriting website.   The links you will find in these areas are already included in the SW curriculum.

Also:

"Using -- And Avoiding -- Flashbacks" by Michael Hauge

ScriptREADER website.
The Industries FIRST online script analysis program - free.   SW provides it's members with a text version to use as a check-off sheet.

DRAMATICA: A NEW THEORY OF STORY - (on-line edition)
Developed and Written by Melanie Anne Phillips & Chris Huntley

Dramatica is a large online book that explains the Dramatica Story Developement Software Program. It's a complicated and in-depth look at a theory on story. Even though the online book is geared to the software, you will find it very informative. SW feels it can be very useful when you create storylines (outlines) for your screenplays. The hardcopy version of the book is also available on the Dramatica website for \\$20.

     "Good Will Hunting" - (208k) Almost a spec, ignore camera direction

     "American Beauty" - (230k) A shooting script with camera direction - Warning: Language

Assignment:

- Write second act of script (pages 31-90 approx.).



SENIOR:

Read weeks 9 and 10 text from the Screenwright: The Craft of the Screenwriting website.

- "Guide to Query Letters" by Connie Adams.
- "More about query letters" by C. Deemer
- "Example of sale letter" by C. Deemer
- "Online lists of prodcos"
- "Prodcos with websites"
- "Hollywood Creative Directory," the Bible of marketing.
- "Skip Press' Writer's Guide..."
- "Generic Release Form" C. Deemer
- "About getting an agent"
- "WGA signatory agents"
- Check out the rest that is below "WGA signatory agents."

Links concerning "Options"

      "About Options" by Charles Deemer
      "More About Options -- or, The Option from Hell" by Charles Deemer

Also read the following on WORDPLAY/FADE IN:

- Read all the text files in the "LETTERS" area.

And the following articles in the "Columns" area:

"Steal this Column" - #4
"Inspriation" - #6
"23 Steps to a Feature Film Sale" - #7
"The Wind-up and the Pitch" - #11
"Building the Bomb" - #15
"Tinsel-speak" - #16
"Fudging" - #17
"Me & My Ampersand" - #18
"You, the Expert" - #19
"Story Molecule" - #20
"Risk vs Reward" - #21
"Ink & Paint" - #22
"Hard Bargain" - #25
"Your First Contract" - #26
"Adaptive Behavior" - #27
"Pencil Test" - #28
"Deep Thoughts" - #29
"I Love LA" - #33
"Hackin Through the Underbrush" - #35
"Proper Treatment" - #37
"Breaking the Ice" - #38
"Cover Me" - #39

Additional reading:

     "Perfect Pitch" Compiled and Edited - by Shelly Goldstein on WGA
     Anatomy of Irresistible Query Letters - by Don Vasicek
     Screenplay Submission Checklist - by Michael Hauge

Misc.

     Screenplay Release Form

Assignment:

- Write third act of script (pages 90-110 approx., 115 max.) until SW approved.

- Use "ScriptREADER" again.

- Re-write/edit complete script.


GRADUATE:

The SW Graduate has completed the studies and a script.  They are free to continue using SW to help in subsequent scripts without having to fulfil the reading requirements.  They now can assist other SW members with their free SW education, to learning the craft of screenwriting.

Places to Sell Your Script Online

We want to develop this area so if you find any good, reliable websites that fall in this catagory let us know.

Read:

     - "Top Secret! Development hell on the Web"

Marketing Your Spec Script, Query Posting and More:

     - Project Greenlight - you win, you direct IT & it's paid for!!
     - The Spec Script Library
     - The Hollywood Script Readers' Digest
     - FREE Query Letter Review (free query letter critique)
     - Inzide.com
     - ManuscriptDepot
     - Screenwriters Online Cooperative
     - Celluloid Crest Producers Group
     - Writers' Script Network™

Devote yourself to the following websites.

We have only listed those websites that contain online material because SW's philosophy is to provide you with the knowledge that is available on the internet.  There are many screenwriting magazines available with websites but their only content is to get you to subscribe to their magazine.  You can find a list of some of them on Mark's Screenwriting Page.

WORDPLAY/FADE IN:
     Look for new articles and keep up with the Forums.

Done Deal
     The Latest News On Script & Pitch Sales in Hollywood

Joann's Motion Picture Development Database
     "The information is gleaned from Variety, Hollywood Reporter, various other press sources and public rumors."

MovieMaker Magazine Online
     Many industry related articles.

Written By: The Magazine of the WGAw
     Written By provides a unique look into the art, craft and business of writing in Hollywood.

Premiere: The Interactive Movie Magazine
     Many industry related areas and articles.


FINAL NOTE