***For 2020, Jill Chamberlain’s classes will be ALL ONLINE via Zoom.***
25 Hours of Workshop Time
Ten 2 1/2 hour class sessions, each one filled with Jill Chamberlain’s unique lectures, skill-building exercises, group discussions, and individual story consultation.
Script Notes and Feedback
Get feedback on your story “nutshell,” your beat sheet, and your final script from Jill Chamberlain and your fellow classmates.
Handouts of key story concepts and professional screenplay examples make convenient references in and outside the workshop.
Each week the class analyzes a film assigned for outside viewing and deconstructs its underlying structure.
The 10 week Master Class curriculum was developed for seasoned and beginning screenwriters alike. Each week there is a focus on mastering a different area of the screenwriting craft.
Lecture on the Nutshell Technique and the underlying structure of a feature film screenplay. A film viewing assigned pre-workshop will be analyzed to illustrate the lesson.
Delving deeper into how to structure your screenplay, you’ll learn the eight sequence method for a three-act story. Your own story nutshell will be reviewed by Jill and the class.
Learn the secrets to creating compelling on-screen characters. Once your nutshell has been cleared, you can turn in a beat sheet for your story.
Learn how to write in industry format, describe scenes, and effectively create action. We’ll go over all the rules — and when you can break them.
Writing natural yet concise dialogue is an art form, and this is when we go over the principles to get you on your way to mastery.
Scenes are the building blocks of any movie. Here we go over how to write a strong scene and make sure it fits into the bigger picture.
Everyone in the workshop turns in a critical scene from their script. The class will do table reads of all the scenes, and Jill will offer script doctoring suggestions and address formatting and structural issues.
Writing gripping action that mimics real time is one of the great challenges of screenwriting, and mini-slugs are an essential tool for achieving this.
Advanced topics (such as tone, theme, subplots, and subtext) will be addressed this week. This is the last class you can turn in a complete screenplay for class critique.
You have a script. How does it become a movie? We’ll talk about the business side of screenwriting, and do final in-class critiques of screenplays submitted by class participants.