SPECIAL EDITION

™

300+ Screenwriting Expo™ Seminars Oct. 25-28, 2007 On Writing, in Los Angeles Breaking In To register: http://screenwritingexpo.com/regnow.html Pitch to 60+ Prodcos at the Golden Pitch™ Tournament Test Your Writing Skills at the $5,000 CS Open

Confirmed Guests of Honor include Michael Goldenberg (Harry Potter), Ted Elliott and Terry Rossio (Pirates, Shrek), Roberto Orci and Alex Kurzman (Transformers, Alias, Legend of Zorro, MI III), Danny Cannon (CSI), Bill Lawrence (Scrubs, Spin City)

TABLE OF CONTENTS OF THIS SPECIAL ISSUE 5 7 40 42

The 2007 Screenwriting Expo™ is the world’s greatest and biggest screenwriting school all in one location. Featuring a lineup of Hollywood’s most experienced and successful writers, producers, directors, studio executives and well-estab- lished teachers from major universities and film schools. This action-packed four-day seminar provides unparalleled learning opportunities for aspiring and established screenwriters to learn from the masters and advance their careers.

4 From the Publisher 38 Teacher Spotlight: Syd Field A special invitation from the new publisher to join us for the 2007 Screenwriting Expo™ 39 How to Write A Great Horror Film Or Thriller Horror is Hot! And, we have some hot classes too, but 5 2007 Screenwriting Expo™: Learn, Party, Pitch don’t get burned by not knowing the rules for writing. Your Scripts, Win $5,000 From beginners to seasoned professionals Screenwriting 40 You Think You’re So Funny...Well, You Can Be Expo™ offers something for everyone and even more! Comedy writing is no laughing matter if you don’t have the right tools. A comedy writing class is sched- 6 No More Rewrites—Your Script Ready… Learn How uled every single session for those that want to take To Make The Golden Pitch™ advantage of our expansive offerings. The most thorough set of teaching sessions on pitch- ing available anywhere. Learn essential tips before 41 $5,000 CS Open Prize; $150,000 In Scriptwriting you meet with out 60+ A-List industry executives who Competition Prizes are eager to find the next mega picture or hit TV show. Stars can be born at the Screenwriting Expo and you have the chance to make it happen. 7 10 Expo Guests of Honor The highlight of the Expo, our Guest of Honors have 42 How to Write For Television reached the pinnacle of success. Each year, our All- Writing for the small screen, doesn’t mean small Star lineup reads like a Who’s Who of the entertain- thinking. Learn the insider’s perspective on how to get ment industry. A true insider’s perspective on how to noticed and be successful in someone’s living room. make it in the industry. 43 Screenwriting For Beginners 11 The CS Open Opens Eyes… You Can Pick The Winner The Expo offers a series of courses specifically aimed So you think you can write? Test your skills against at the new writer. your peers in this unique live competition and walk 43 Chris Huntley’s Software Training Seminars away with $5,000. The co-creator of Write Brothers, Inc. and the Movie 12 Screenwriting Expo™ Schedule at a Glance Magic series offers direct access to his knowledge and A handy guide to help you determine your seminar mastery only at Screenwriting Expo™. scheduling. 44 Killer Screenwriting A Week-Long Interactive 14 Hidden Gems Of Wisdom Among The 300 Expo Workshop with Jim Mercurio Teaching Sessions Meet some of our featured teachers that have a lot to 45 Lodging & Travel offer and a proven track record to back up their words 46 DVD Order Form of wisdom. Can’t attend, but still want to benefit from the wealth 15 34 Teaching Sessions of information? Our exclusive DVD series of select A handy guide to help you determine your seminar teaching sessions will ensure you receive the pertinent scheduling. information you need to advance your career. 35 Film School For Screenwriters In One Day Or Two 47 Screenwriting Expo™ Registration Form Expand your versatility with these high-impact classes on directing and producing To Attend the Screenwriting Expo: 36 Teacher Spotlight: Michael Hauge Use the form on the last page or go to 37 Don’t Take Our Word For It http://screenwritingexpo.com/regnow.html Read What Past Attendees Are Saying About the Screenwriting Expo

SPECIAL EDITION | creativescreenwriting | 3 cs FROM THE DESK OF THE PUBLISHER BY BILL DONOVAN

Dear Storyteller, having the biggest haul of prizes of any screenplay contest, is I invite you to join 4,000 of your fellow screenwriters, the only one in which winners are announced and instantly screenwriting aspirants, studio and independent production honored in front of as many as 1,000 peers, at the Expo clos- executives, story analysts, and teachers at the 2007 Screen- ing ceremonies. writing Expo. It’s networking. We’ll have four evening networking par- This year’s Expo has the finest group of special screenwrit- ties, but they’re only the start. You could meet your next writ- ing guests we’ve ever assembled, with (so far) two Oscar-win- ing partner or a producer sitting around a table at lunch, or ning writers and an Oscar-nominated writing team, joined by between sessions in the lobby of one of the two host hotels. prime-time TV show creators and writers, three screenwriters It’s seeing where the doors into the business are, and seeing who are also national award-winning and best-seller-list nov- them open. elists, and world-famous screenwriting teachers among the It’s breathing air filled with the magic of moviemaking. 120+ members of this year’s faculty. It’s all about you. You are the very reason they pop the pop- Screenwriting Expo™ is the most thorough, in-depth, and corn. Nobody else makes a movie until the writer makes it first. intensive screenwriting education available anywhere. Every- So register now, and come to the Expo Oct. 25-28, 2007 at thing they teach in film school about the craft, and every- the Marriott Los Angeles Airport and adjacent Renaissance thing they didn’t tell you, is taught here. Montura Hotels. The Expo is more than an education, however. It’s an ideal See you there! opportunity to pitch your work to movie and TV producers at the Golden Pitch™ Tournament. It includes the one-and- Write on, only, original CS Open Scene-Writing Tournament, in which Bill Donovan you get to pick the winner. Publisher, Creative Screenwriting Also, the Expo Scriptwriting Competition, in addition to Executive Manager, The Screenwriting Expo

The EXPO 6 Screenplay Competition would like to thank its sponsors who make it possible for us to award more than $150,000 in prizes and productions.

www.thescriptwhisperer.com www.writersbootcamp.org www.truby.com

The top 20 feature writers win a consultation with The Script Whisperer. • • • Two screenwriters win Writer’s Boot Camp’s Professional Membership, in which they are guided through the development and execution of 3-5 projects. • • • The top 20 feature writers will receive John Truby’s Blockbuster Software.

www.dabelbrothers.com www.creativescreenwriting.com

4 | creativescreenwriting | SPECIAL EDITION BY CREATIVE SCREENWRITING STAFF A SPECIAL EVENT cs

2007 Screenwriting Expo: Learn, Party, Pitch Your Scripts, Win $5,000

rom October 25-28, 2007, Screenwriting lineup includes Oscar winners William Gold- “With the number of pitch sessions and Expo™ will take over the Los Angeles man (Butch Cassidy & the Sundance Kid) and participants, The Golden Pitch™ Tour- FAirport Marriott and the adjacent Ren- Steven Zaillian (Schindler’s List), box office nament offers unequaled access to the best aissance Montura Hotels, bringing nearly giants Ted Elliott and Terry Rossio (the Pirates Hollywood has to offer,” Donovan said. 4,000 writers, writer-directors, screenwriting of the Caribbean franchise and Shrek fran- The Expo is also home to two screenwrit- teachers, production company development chises) and Michael Goldenberg (Harry Potter ing competitions. Prizes are awarded at the executives, and script analysts together to and the Order of the Phoenix), and TV titans Expo for the advance-entry Screenwriting share their passion for filmmaking. Bill Lawrence (Scrubs) and Danny Cannon Expo Screenplay Competition, which The Screenwriting Expo is the biggest, (the CSI franchise). offers more than $150,000 in prizes, includ- most intense teaching experience about ing a $20,000 cash grand prize. There are screenwriting on the planet, and welcomes also production opportunities including both beginners and professionals alike. $50,000 graphic novel production deal with The core of the 2007 Expo is the over 300 Dabel Brothers Pro, to be published under Classes on screenwriting and filmmaking. the Marvel Comics banner. “Whether your particular scriptwriting A second competition, the CS Open, takes needs have to do with structure, characters, place over the last three days of the Expo. plots, openings, how to write a particular This is an open scene-writing tournament genre, making people laugh, or making them that tests a writer’s skill and ability to think gasp — or how to pitch and sell your script for quickly. A $5,000 grand prize awaits the a paycheck that makes your friends gasp — writer who can turn a one-sentence premise the Screenwriting Expo has classes that teach into the best scene in just over an hour. it,” said Creative Screenwriting Publisher and Each evening, the Expo sponsors Net- Expo Executive Manager Bill Donovan. working Parties to help registrants get to “No undergraduate, graduate, or profes- know both one another and also mingle sional screenwriting program anywhere with agents and development executives. offers anything close to either the collective The annual Expo pitch sessions have a Friendships and business relationships are level of expertise or the sheer number of new name, the Golden Pitch™ Tournament, forged during these parties, so don’t miss the focused and high-level courses available to but the same format as in years past: you chance to spend some quality time with Expo registrants.” can sit in a room and pitch your scripts and your fellow writers. Also, each year, the Expo invites top work- stories to over 60 of Hollywood’s best stu- To register for the 2007 Expo, use the form at ing writers as Guests of Honor to talk about dios, production companies, agencies, and the back of this document or visit up online at their careers and experiences and the craft and management companies that are looking for www.screenwritingexpo.com/reg- business of writing for film and TV. This year’s new material for film and TV. now.html cs

Thriller Screenplay “Dead Stop” Optioned From Expo Pitch

“Wanted to say thanks for opening the door to all of “Today, I have an optioned screenplay that’s current- us screenwriters struggling to break in—especially those ly out to talent. It’s an amazing step I never would’ve of us living outside of L.A., “ writer Scott Walker wrote found without the Expo. Thanks!” The Expo, Walker to Creative Screenwriting Magazine Publisher and Screen- wrote, is “... the best place I know of to grab both indis- writing Expo Executive Manager Bill Donovan in an pensable insight from working screenwriters and that unsolicited email on July 19, 2007. Holy Grail that all of us writers crave: industry access.” “Thanks to Expo 4, and more specifically the Script (The 2007 Golden Pitch Tournament, which is open only Pimp/Script Shark Secret Door Pitch Fest (a 2005 Expo to Expo registrants, begins the afternoon of Oct. 26 and Event), I was given the opportunity to pitch to an estab- continues through the afternoon of Oct. 28. To enter, first lished manager (using the helpful tips I learned through- sign up using the form on the last page of this announce- out the Expo classes) who not only requested my script, ment or visit us at http://screenwritingexpo.com/reg- but signed me!” now.html) cs

SPECIAL EDITION | creativescreenwriting | 5 No More Rewrites—Your Script Ready... All You Need Is That One Break Learn How To Make The Golden Pitch™—And Then Make It

The movie/TV industry is eager to hear your story. have sold scripts...by TV and movie writers who have success- In five minutes or less. fully pitched their own stories...by producers who have both The 2007 Screenwriting Expo offers the best chance to given and taken pitches,” Donovan said. learn how to make the perfect sales pitch for your story and Seventeen of these 90-minute teaching sessions are sched- yourself – 19 sessions by industry insiders and top teachers on uled before the beginning of The Golden Pitch™ Tournament, how to pitch your story and yourself. in which writers will have the opportunity to pitch your story “It’s an essential skill. Your story will not sell, and your to 60+ executives and agents representing A-list companies. career will never take off, if you don’t make at least one great “And just in case you need to learn more, there are two more pitch to someone in the industry,” said Screenwriting Expo great sessions on pitching on Saturday, Oct., 27, while the Executive Manager Bill Donovan. “Realistically, the chances Golden Pitch™ Tournament is on. are that you will need an array of pitching skills and have to the Golden Pitch™ Tournament, which was called the Expo make more than one great pitch before you sell your first–or Pitch Sessions, is a round-robin in which writers tell producer next–script. To help you do that, we have assembled at the and agent representatives their stories, in a series of five-minute 2007 Expo the most thorough set of teaching sessions on pitch- sessions that are much like speed dating. ing availalable anywhere.” The teaching sessions on pitching your story are listed below. “These classes are conducted by top teachers whose students See the full schedule of sessions for descriptions of these seminars.

Here’s the Pitch Perfect Pitch: How to Sell Yourself Taught by: Brad Schreiber and Your Movie Idea to Holly- Day/time: Thursday, Oct. 25, 9 AM- wood—The Workshop 10:30 AM Taught by: Ken Rotcop Day/time: Thursday, Oct. 25, 5 PM- Pitch in a Minute 6:30 PM Taught by: Pilar Alessandra Day/time: Thursday, Oct. 25, 9 AM- Pitching at TV Conference 10:30 AM Seminars Taught by: Mark and Jeanne Simon Loglines/Treatments/Pitches Day/time: Thursday, Oct. 25, 5 PM- Taught by: James Dalessandro 6:30 PM Day/time: Thursday, Oct. 25, 9 AM- 10:30 AM Revitalizing a Weak Pitch Taught by: Gary Shusett The TV Freelancer: Pitching For TV Day/time: Friday, Oct. 26, Taught by: Brian Herskowitz Simple Pitching 9 AM-10:30 AM Day/time: Thursday, Oct. 25, 11 AM-12:30 PM Taught by: Ellen Sandler Life’s a Pitch Pitching To Sell: Engaging The Listener Day/time: Thursday, Oct. 25, 3 PM-4:30 PM Taught by: David Zuckerman Taught by: Karl Iglesias Perfect Pitch: How to Sell Yourself Day/time: Friday, Oct. 26, 9 AM-10:30 AM Day/time: Thursday, Oct. 25, 11 AM-12:30 PM and Your Movie Idea to Hollywood— The Pitch Analyzing Clinic What NOT to Do In A Pitch The Lecture Taught by: Gary Shusett Taught by: Robert Ward Taught by: Ken Rotcop Day/time: Friday, Oct. 26, 11 AM-12:30 PM Day/time: Thursday, Oct. 25, 3 PM-4:30 PM Day/time: Thursday, Oct. 25, 11 AM-12:30 PM The Art of Pitching & Story Structure TV Power Pitch Workshop Inside Pitch Taught by: Catherine Ann Jones Taught by: Mark and Jeanne Simon Taught by: Noah Stern Day/time: Saturday, Oct. 27, 3 PM-4:30 PM Day/time: Thursday, Oct. 25, 3 PM-4:30 PM Day/time: Thursday, Oct. 25, 3 PM-4:30 PM Selling Your Idea To Hollywood With Pitch How to Pitch Your Screenplay for a Sale Pitching Tool Kit King Robert Kosberg Taught by: Victoria Wisdom Taught by: Cynthia Whitcomb Taught by: Bob Kosberg Day/time: Thursday, Oct. 25, 3 PM-4:30 PM Day/time: Thursday, Oct. 25, 5 PM-6:30 PM Day/time: Saturday, Oct. 27, 5 PM-6:30 PM

Note: dates and times of these and all other teaching sessions are subject to change. Sessions can be canceled for reasons outside our control. Consult the on-site program for final sessions, dates, and times.

6 | creativescreenwriting | SPECIAL EDITION EXPO GUESTS OF HONOR cs

Transformers Oscar Winners and Nominees, Prime-Time TV Creators Hear Tales From the Trenches From Hollywood’s Top Writers wo Oscar winners, an Oscar-nominated writing team, and cre- ing something.” ative minds behind two top prime-time television shows are “Life isn’t fair. It’s just fairer than death, that’s all.” Tamong the Guests of Honor at the 2007 Screenwriting Expo. “Sonny, true love is the greatest thing, in the world — except Guests of Honor have become an institution at the annual Screen- for a nice MLT — mutton, lettuce and tomato sandwich, where writing Expo. In free-wheeling discussions, interviews, and audience the mutton is lean and the tomato is ripe.” question-and-answer sessions, they speak about their writing and careers and give advice on how to make it in the industry. This year’s guest of honor line-up includes: For the fourth straight year, Oscar Winner William Goldman is coming back to the Expo as the Sunday Guest of Honor. As a screen- writer, novelist, and playwright, he has won two Oscars, two Edgars, a WGA award, and a BAFTA. Among his origi- nal creations are Butch Cassidy and the Sundance Kid, The Princess Bride, and Marathon Man. His numerous adapta- tions include the classic All the Presi- dent’s Men as well as Misery and Hearts in Atlantis. He has also written the pop- ular book “Adventures in the Screen Trade,” in which he penned the most famous line in Hollywood that didn’t Ted Elliott & Terry Rossio come from the Silver Screen: “Nobody William Goldman knows anything.” Oscar-nominated Ted Elliott & Terry Rossio are two of the He also offered this cautionary line about self-discipline: “The eas- most successful writers that have ever picked up a pen, writing some iest thing to do on earth is not write,” and such memorable movie of the biggest films in history. They are the writing team behind Dis- lines as — ney’s Pirates of the Caribbean franchise, penning all three films in the “Life is pain, highness. Anyone who tells you differently is sell- trilogy including At World’s End, which was released this year. They

SPECIAL EDITION | creativescreenwriting | 7 cs EXPO GUESTS OF HONOR

Harry Potter and the Order of the Phoenix also wrote and were Oscar-nominated year’s All the King’s Men. His next film, American Gangster, starring for the screenplay for the first Shrek Denzel Washington and Russell Crowe, will be released in Novem- film, which became one of the high- ber. est-grossing films of all-time. They Michael Goldenberg wrote the adaptation for Harry Potter and the have also written the blockbusters The Order of the Phoenix, the fifth entry in the blockbuster franchise that Mask of Zorro and Disney’s Aladdin, was released this summer. Goldenberg spent years as a playwright which helped usher in Disney’s sec- before moving into film where he wrote and directed the acclaimed ond Golden Age of animation. Hear- 1996 film Bed of Roses as well as penning the screenplay for director ing these two share the secrets of their Robert Zemeckis’ Contact. He also wrote the 2003 live-action update success is surely to be one of the con- of Peter Pan, Michael Goldenberg vention’s highlights. which led him to Oscar Winner Steven Zaillian won for the 1993 classic his current gig at Schindler’s List, which Hogwarts. currently sits at #8 on Roberto Orci the American Film Insti- & Alex Kurtz- tute’s list of the 100 man have been Greatest American Films. a writing team He has also penned a for over a decade, range of work from big- beginning in tel- budget adaptations, evision before including Gangs of New becoming two of York and Clear and Pres- the best big-bud- Roberto Orci & Alex Kurtzman ent Danger and more inti- get writers Holly- mate character studies wood has to offer. Their current film, Transformers, has set several like Awakenings and The box office records in its release this summer. After several years on Interpreter. As a director, the cult TV show Alias, the duo left to write the screenplay for he has helmed the criti- 2005’s The Island and went on to pen The Legend of Zorro. They re- cally acclaimed Searching teamed with their Alias executive producer J.J. Abrams on the 2006 For Bobby Fischer and A hit Mission: Impossible III. Their next film is the 2008 re-launch of Steven Zaillian Civil Action as well as last the Star Trek franchise.

8 | creativescreenwriting | SPECIAL EDITION EXPO GUESTS OF HONOR cs

Pirates of the Caribbean

Scott Alexander & the show’s executive producers. He Larry Karaszewski have also produces CSI: Miami and CSI: among the more varied New York, the two hit spin-offs of writing careers in Holly- the original show. Though much wood. After meeting as of his days are spent in TV, he has roommates at the Universi- also found time to direct big-screen ty of Southern California fare such as Judge Dredd and I Still School of Cinema-Televi- Know What You Did Last Summer. sion, they teamed up and He also directed the 2006 movie broke into the business Goal. Hearing one of TV’s biggest with the 1990 kid film Prob- producers is a first for the Expo, lem Child. They have and is not to be missed. remained interested in chil- Another of television’s brightest Bill Lawrence Scott Alexander & Larry Karaszewski dren’s cinema (That Darn minds will also be in attendance. Cat, Agent Cody Banks), but also made a name for themselves in art Bill Lawrence is the creator of NBC’s hit show Scrubs, which will films working with Tim Burton on begin its seventh season this fall. It 1994’s Ed Wood and with Milos For- has been nominated for the Out- man on The People vs. Larry Flynt and standing Comedy Emmy two years in Man on the Moon. Their latest film, a row. He also created, with Gary the Stephen King thriller 1408, David Goldberg, the hit series Spin debuted to great critical acclaim and City, which ran for seven years on commercial success earlier this year. ABC. He has a new show being con- Danny Cannon is one of the sidered for the airwaves in Nobody’s creative minds behind CSI: Crime Watching and will be making a transi- Scene Investigation, CBS’ blockbuster tion to the big screen for Miramax as TV show that consistently ranks as the writer/director of Fletch Lives! the most-watched show on televi- Scott Frank can easily be sion. In addition to directing the described as one of the more pilot episode, he has also written acclaimed screenwriters of the past eight episodes and serves as one of Danny Cannon fifteen years. After penning the 1995 Scott Frank

SPECIAL EDITION | creativescreenwriting | 9 cs EXPO GUESTS OF HONOR smash hit Get Shorty, he went on to win the WGA award for Out Black Pearl. From there, Beattie would go on to script Michael Mann’s of Sight, the 1998 Steven Soderbergh drama. He also wrote the award-winning drama Collateral, as well as the 2005 thriller Derailed. script for the Tom Cruise/Steven Spielberg blockbuster Minority 2007 will see two of Stuart’s film in release: the thriller 30 Days of Night and the James Mangold- directed 3:10 to Yuma star- ring Russell Crowe. Feature films and current television aren’t the only areas covered by our special guests, however. Robert Ward has written and pro- duced for three successful prime-time shows: Hill Street Blues, Miami Vice, and New York Undercover. He is also the winner of two national awards for writing novels and is up for the prestigious Dashiell Ham- Stuart Beattie Robert Ward mett Award for 2007. Tina Andrews Report, and has been involved in films ranging from Little Man Tate Tina Andrews, a one- to The Interpreter. He made his directorial debut in 2007 with the time actress, has won a WGA Award for writing the made-for-TV critically thumbs-up original crime drama The Lookout. movie Sally Hemings: An American Scandal. She also wrote the After spending his early years toiling in the independent market- screenplay for the 1998 film Why Do Fools Fall in Love. cs place, Stuart Beattie got his break when he came up with the screen (We expect to announce additional Guests of Honor by story for the 2003 blockbuster Pirates of the Caribbean: The Curse of the showtime.)

10 | creativescreenwriting | SPECIAL EDITION The CS Open Opens Eyes… And You Can Pick The Winner by Shaene M. Siders

fellow writers sweat. How can you not can’t give detailed ‘coverage’ on each love that?” scene,” says Cirile, “but we do try to Even more fun is participating. To point out the strengths and weak- avoid overcrowded rooms, the rounds nesses and give writers a heads-up on take place in 8 separate sessions. My how to improve their writing overall. first session ever was a cataclysm of For some people, who’ve never had America has a hunger for “NOW!” adrenaline and creativity and firing any sort of script coverage or indus- Audiences want to live vicariously in neurons. I had to go back for more! try feedback, this can be startling. But the moment. Give us live sports. After each round, pro industry readers most folks take the comments in the Live poker tournaments. Even live from Coverage, Ink review the scenes spirit, which is, helping folks become spelling bees! So why not a live writ- based on a point system—25 points better writers, from the perspective of ing tournament? each for style, structure, originality fellow writers who also read scripts for Creative Screenwriting magazine and and dialogue. The top 10% advance a living.” leading script analysis service Cover- to Round 2. “It’s awesome watching And that’s just Round One. Round ageink.com founded the world’s first everyone writing like crazy, wearing Two takes the top ten percent and live writing tournament in 2002. out their pencils, trying to make throws them into another furnace of Imagine over 100 writers sequestered something good in only 90 minutes,” creativity. Next, Round Three pits the in a room with paper, pencils, and a says Cirile. “It’s so different than writ- top ten writers against one another to challenge. Given specific parameters ing at home in your comfort zone. I execute one final original scene based right there on the spot, you must craft think every writer should do this at on new parameters. a scene and get it out on paper with- least once just for the experience.” Who wins? You decide! Actors in 90 minutes. 90 minutes! There’s I agree. A few hours after handing tackle the final three scenes in front no time to sneak off to Starbucks and in their scenes, participants can pick of a live audience at the Expo’s clos- procrastinate. The adrenaline starts them up and compare notes with ing ceremonies, and the audience pumping, the gears start churning, newfound colleagues. Sometimes chooses the big winner right then and and with luck, frenzied words erupt they’re flustered that their friends got there. from the pencil. What a rush! And to better scores than they did. But for But to embrace an old cliché, every advance to the next round, your less than the cost of a movie ticket, writer is a winner. The competition hastily-written scene must be better you get a shot at the $5,000 grand makes writers write. And it gives us than over 750 other writers who are prize and an honest and fast review feedback important to our growth as just as determined as you are. of your writing. writers. Would it actually be interesting to And the comments are eye-open- So don’t miss the CS Open this watch 100 people scribble furiously ing—even if you’ve been screenwrit- year! Check http://www.Screen- on paper, frown in thought, and wres- ing for over 10 years (if you count the writingExpo.com or the final program tle with writer’s block? Ask Jim Cirile years in Nebraska). My first score was at the Expo for rooms and times. The from Coverage, Ink, who has run the decent, but I was shocked. What do only thing to fear is fear itself... and a tournament for the past 6 years. they mean, scenes have a structure? little writer’s cramp! cs “It’s enormously rewarding, always Only scripts have structure, right? [Shaene Siders neglected to men- a highlight of my year,” says Cirile. Wrong. Until that moment, the only tion one small relevant detail in the “Plus I get to feel just a bit diabolical, structure I had for individual scenes account above ... that she was a whipping out fiendishly tricky scene was “Come in late, get out early.” semifinalist in the 2006 competi- parameters and then watching my Very eye opening. “Obviously we tion–Editor.]

SPECIAL EDITION | creativescreenwriting | 11 cs EXPO SCHEDULE AT A GLANCE

Wednesday Oct. 24, 2007, 8 PM - 10 PM Thursday Oct. 25, 2007, 5 PM - 6:30 PM ✪ ALL Pamela Jaye Smith Thriller: Stalking the Dark Side— Pre-Conference Welcome Party Antagonists (Gold Pass and Ticket holders; location to be announced) FREE Guest of Honor (Marriott Ballroom) ✪ ADV Blake Snyder The Return of the R-Rated Comedy FREE ALL DMA Panel: Writing for Reality TV (and BEG Matthew Terry Hooking the Audience, Exploring the First Thursday Oct. 25, 2007, 9 AM - 10:30 AM Non-Fiction TV) Act ✪ BEG Hal Ackerman Writing Exercises For The Fit Screenwriter ✪ ADV Wendall Thomas Screenwriting Secrets & Lies: Writing FREE Guest of Honor (Marriott Ballroom) ✪ ADV Pilar Alessandra Surviving Rewrite Hell Subtext FREE Software classes for screenwriters (TBA) ✪ ADV Howard Allen Secret Weapon of Comedy, Thriller Scripts ALL Mark Travis Directing the Actor, Creating ✪ BEG Pilar Alessandra Pitch in a Minute ✪ ADV Paul Joseph Gulino Sequences: Hidden Structure of Characters ✪ BEG Steven Barnes The Universal Plot Screenplays ALL John Truby Anatomy of a Story: 10 Great Techniques ADV James Bonnet Structure, Metaphor, Genre ALL Joel Haber Effective Use of Flashbacks and Voiceovers ADV David Zuckerman Writing Your First Screenplay ✪ ADV James Dalessandro Loglines/Treatments/Pitches ✪ ADV Heather Hale Power Networking: Time & Contact ADV Ken Dancyger Writing the Romantic Comedy Management Friday Oct. 26, 2007, 1 PM - 5 PM ALL Syd Field Writing the Action Sequence ADV Nancy Hendrickson The Storyteller’s Bag of Tricks The Golden Pitch™ Tournament, Session 1 ADV Howard M Gluss PhD Madness at Movies I: Killers, Psychos ✪ ADV Karl Iglesias Testing Your Concept at the Emotional Renaissance Ballroom, Renaissance Montura Hotel ✪ ALL Joel Haber Visualizing the Verbal Level The industry’s chance to learn about you and your scripts. ✪ ADV Heather Hale Power Networking: The Hollywood Code ✪ PRO Paul S. Levine Turning Books into Movies Pitch tickets go on sale on line in September. ADV Brian Herskowitz Crafting The Outline For A Feature Film ✪ ADV Ken Rotcop How to Sell Yourself/Your Idea—The See http://screenwritingexpo.com/pitch.html for details. ✪ BEG Karl Iglesias 10 Habits of Successful Screenwriters Workshop ✪ PRO Paul S. Levine Legal/Business End Of Writing for Film/TV ✪ BEG Scott Rubenstein How to Rewrite Your Sitcom BEG Bonnie MacBird Improv for Screenwriters ✪ ADV Ellen Sandler What Can I Say?—A Dialogue Workshop Friday Oct. 26, 2007, 1:30 PM - 2:30 PM (20-registrant maximum) ALL Mark & Jeanne Simon Pitching at TV Conference Seminars Luncheon Keynote Session To Be Announced ✪ ALL Ken Rotcop Secrets of Animated Movies and TV Shows ALL Noah Stern Character as Purpose ✪ BEG Scott Rubenstein How to Deduct Your Writing Career BEG Ron Suppa Choosing a Marketable Premise Friday Oct. 26, 2007, 3 AM - 4:30 PM ALL Brad Schreiber Here’s the Pitch BEG Dave Trottier Creating Your Break-Through Strategy FREE Guest of Honor (Marriott Ballroom) ALL Noah Stern Graphic Adaptation ✪ ALL Cynthia Whitcomb Pitching Tool Kit ✪ ALL Hal Ackerman Semantics of Antics: 5 Great Comedy BEG Dave Trottier Formatting, Spec Writing for Fun, Profit ADV Victoria Wisdom How to Sell a Spec Script Scenes ADV Rachel Ballon Create Characters With Depth Thursday Oct. 25, 2007, 11 AM - 12:30 PM Thursday Oct. 25, 2007, 8 PM - 10 PM PRO Philippa Burgess Navigating the Studio System – Networking Party ADV Linda Cowgill The Tools of Plotting & The Sequence of FREE Guest of Honor (Marriott Ballroom) (Gold Pass and Ticket holders; location to be announced) Story ✪ ADV Pilar Alessandra Writing A Female Driven Screenplay ✪ PRO James Dalessandro Breaking the Rules: How the Big ✪ ADV Howard Allen Structure from the Inside: Text, Subtext Friday Oct. 26, 2007, 9 AM - 6 PM Dogs Do It ✪ BEG Steven Barnes Heart of the Matter: Deep CS Open Scene-Writing Competition – $5,000 Prize ADV Brian Edgar The Art of Descriptive Action Characterization Round 1 (all day and Saturday morning, various locations) ✪ BEG Heather Hale What’s the Scoop on Screenplay Contests? ADV James Bonnet Great Characters: Their Best Kept ✪ ALL Michael Hauge Hero’s 2 Journeys: Story Structure, Secret Friday Oct. 26, 2007, 9 AM - 10:30 AM Character ✪ ADV James Dalessandro Adaptations: The Heart of the Matter ✪ ADV Karl Iglesias Crafting Compelling Stories ADV Ken Dancyger Writing the Thriller FREE Guest of Honor (Marriott Ballroom) PRO Karen Jacobs Rewriting Dialogue ALL Michael Davis Film School To Writer-Director of Top ALL Hal Ackerman Creating Screenplays From Personal ✪ PRO Jim Pasternack Directing: Collaborating with an Editor Talent Stories ✪ ADV Ellen Sandler TV Story Structure ADV Howard M Gluss PhD Madness II: The Histrionic And Others ✪ ADV Steven Barnes Future Perfect: The Art of Science Fiction ALL Brad Schreiber How Difficult is Your Journey ✪ ALL Joel Haber Writing to be Read ALL Michael Ray Brown Checklist: How to Plug Holes in Your Script ALL Gary Shusett Rebuilding the Writer’s Dream ✪ ADV Heather Hale Navigating Hollywood ADV Linda Cowgill The Emotional Pattern of Plot ✪ BEG Evan Smith Story Structure 2007: Old Dog, New Tricks BEG Brian Herskowitz The TV Freelancer: Pitching For TV ✪ PRO James Dalessandro Scene Study: The Secret Life of ✪ ALL Pamela Jaye Smith Putting The Visual in Visual Media ✪ ADV Karl Iglesias Pitching: Engaging Listeners Screenplays ✪ ADV Blake Snyder Monster in the House: Stories That Emotionally ADV Brian Edgar Twisted Worlds: Writing the Thriller Scare Us ✪ PRO Paul S. Levine Optioning Rights ✪ BEG David Freedman Screenwriter’s Guide to Making Money BEG Matthew Terry Getting Characters Across Visually ✪ ADV Ken Rotcop Secrets of a Hollywood Executive ✪ ADV Heather Hale Preparing An Indie Film Business Plan ALL Mark Travis The Rehearsal Process ✪ BEG Scott Rubenstein Money And Me: Managing BEG James Hughes Short Films: A Short Way To Success ✪ PRO Wendall Thomas You Talkin’ to Me?: The Power of Dialogue Your Career ✪ BEG Paul S. Levine Legal Primer: Overview of Entertainment ADV Richard Walter Attitude vs Gratitude: Securing An Agent ✪ ADV Ellen Sandler Put Comedy into Your Scripts Law ✪ ADV Victoria Wisdom How to Find the Right Buyer for Your ALL Brad Schreiber Working With a Literary Consultant BEG Bonnie MacBird Introduction to Screenwriting on the Project ✪ PRO Stephen Susco The Future of Horror Write Side of the Brain ALL Robert Ward What NOT to Do In A Pitch ✪ PRO Jim Pasternack Directing: Preparing the Dramatic Friday Oct. 26, 2007, 5 PM - 6:30 PM ✪ ADV Cynthia Whitcomb Writing a Great Movie Opening Workbook FREE Guest of Honor (Marriott Ballroom) ✪ PRO Thomas Pope The Good Guys & The Bad Guys PRO Philippa Burgess Navigating TV Thursday Oct. 25, 2007, 1:30 PM - 2:30 PM ADV Eugene Roginsky Never Have Writer’s Block Again ALL Syd Field Setting Up Character & Story ALL Gary Shusett Revitalizing a Weak Pitch Luncheon Keynote Session To Be Announced ✪ BEG Heather Hale Breaking Down the Beat Outline ✪ ALL Pamela Jaye Smith Comedy: The Dark Side Of Lightness BEG Nancy Hendrickson 3-Act Screenplay Structure ✪ PRO Ed Solomon Meet Dr. Ed ✪ Thursday Oct. 25, 2007, 3 PM - 4:30 PM ADV Karl Iglesias Crafting Fascinating Scenes BEG Matthew Terry Second Act Struggles BEG Karen Jacobs Making Time & Space to Write ALL Mark Travis Script Analysis/Breakdown for the ✪ ADV Hal Ackerman Scenes That Crackle With Life ALL Michael Rieves Mark Zicree World Enough and Time ✪ Director ✪ ADV Thomas Pope Outsider/Outcast/Outlaw: Character Vs ADV Pilar Alessandra Dynamic Dialogue ADV David Zuckerman Life’s a Pitch ✪ ADV Howard Allen Landscaping Subtext for Society Great Moments ADV Eugene Roginsky Character Study: The Psychotherapist ✪ BEG James Dalessandro Real Life—Reel Life Friday Oct. 26, 2007, 11 AM - 12:30 PM ✪ ADV Ellen Sandler Finding Great Ideas PRO Pam Douglas Writing the TV Drama Series ALL Brad Schreiber Adapting Material for TV and Film ALL Syd Field Setting Up Character & Story FREE Guest of Honor (Marriott Ballroom) ALL Gary Shusett What To Do Without An Agent: A Road ADV Howard M Gluss PhD Psychologically Authentic Characters ALL Rachel Ballon Unlock Blocks: 6 Secrets to a Creativity Map ALL Joel Haber Scene Creation Workshop Cure ✪ ALL Pamela Jaye Smith Warrior Way for Writers ✪ ADV Heather Hale Power Networking: Making the ✪ ADV Steven Barnes The Gorgon in the Mirror: How & Why of ✪ ADV Blake Snyder Dude with a Problem: Movies That Chill Connections Horror ✪ ADV Ed Solomon Building A Working Writer’s Craft ✪ ADV Karl Iglesias Writing for Maximum Emotional Impact ADV Linda Cowgill Conflict & Principles of Action in Plot BEG Ron Suppa What To Do After It’s Written ✪ BEG Paul S. Levine Getting Representation ✪ PRO James Dalessandro Researching The Tentpole Picture Makers ✪ ADV Wendall Thomas Writing Romantic Comedy Dialogue ✪ ADV Ken Rotcop How to Sell Yourself/Your Idea—The ADV Brian Edgar Writing the Period Drama ALL Mark Travis Staging, The Director’s Most Powerful Tool Lecture ALL Syd Field Writing Action Sequences ADV Richard Walter Screenwriting: The Whole Picture ✪ ADV Ellen Sandler Simple Pitching ✪ ADV Heather Hale Developing and Writing the Adaptation ✪ ADV Victoria Wisdom What Makes a Script Saleable and ALL Brad Schreiber What Agents Can, Cannot and Won’t Do ✪ BEG Michael Hauge Sell Your Story in 60 Seconds Commercial ALL Mark & Jeanne Simon TV Power Pitch Workshop ✪ ADV Karl Iglesias Crafting Complex Characters ADV Jennifer van Sijll Cinematic Storytelling ALL Noah Stern Inside Pitch ✪ PRO Jim Pasternack Directing: Visualization/Staging BEG Dave Trottier 17 Ways to Make a Living as a Writer ADV Eugene Roginsky Add Psychological Dimension to Your Friday Oct. 26, 2007, 8 PM - 10 PM, – Networking Party ALL Robert Ward How To Create Villains Characters (Gold Pass and Ticket holders; location to be announced) ✪ ADV Cynthia Whitcomb Writing the Romantic Comedy ✪ ADV Ellen Sandler Turning Your Screenplay into a TV Pilot ✪ ADV Victoria Wisdom How to Pitch Your Screenplay for a Sale ALL Brad Schreiber 13 Things Bad Screenwriters Commonly Saturday Oct. 27, 2007, 9 AM - Noon Do ALL Gary Shusett The Pitch Analyzing Clinic The Golden Pitch™ Tournament, Session 2 ✪ BEG Evan Smith Comedy Writing: Build a Better Joke Renaissance Ballroom, Renaissance Montura Hotel The industry’s chance to learn about you and your scripts.

✪ STAR SPEAKERS Based on last year’s attendee rankings. BEG Appropriate for attendees new to the field. ADV For writers who have finished at least one script. PRO For writers who have optioned at least one script. ALL Appropriate for everyone.

12 | creativescreenwriting | SPECIAL EDITION EXPO SCHEDULE AT A GLANCE cs

Pitch tickets go on sale on line in September. ADV Ellen Sandler & Devorah Killer Loglines: 30 Seconds ALL Derek Rydall How to Analyze Your Script Like A Pro See http://screenwritingexpo.com/pitch.html for details. Cutler-Rubenstein to Cha-Ching ✪ PRO Linda Seger Deepening & Layering Your Characters ✪ ALL Heather Hale Non-Linear Storytelling BEG Richard M. Stefanik Digital Age Storytelling Saturday Oct. 27, 2007, 9 AM - Noon ✪ BEG Michael Hauge Grabbing the Reader in the First 10 Pages ADV Taylor Van Arsdale How to Write an Adaptation of Your Novel ✪ CS Open Scene-Writing Competition – $5,000 Prize ADV Karl Iglesias Crafting Fresh Dialogue for Emotional Round 1, continued (various locations) Impact Sunday Oct. 28, 2007, 11 AM - 12:30 ALL Catherine Ann Jones The Art of Pitching & Story Structure ✪ Saturday Oct. 27, 2007, 9 AM - 10:30 AM ADV Steve Kaire Creating Slam Dunk Script Ideas FREE Guest of Honor (Marriott Ballroom) ✪ ADV Steve Kaplan Steve Kaplan’s Comedy Intensive: Hidden ✪ ADV Pilar Alessandra Script from Scratch FREE Guest of Honor (Marriott Ballroom) Tools ✪ PRO David Bartlett Writing the Multiple Storyline Screenplay ✪ BEG David Bartlett Screenwriting—How Do I Start? ADV Christopher Keane How to Write for the A-List Actor BEG Glenn Benest Writing Visually ADV Gil Bettman Why, When, and How to Move the Camera ADV Jeff Kitchen Create Gripping Action with Dilemma ADV Michael Ray Brown Capturing Your Audience with Jeopardy ADV Linda Cowgill The Art of Plotting ADV Bill Lundy Creating the Great Logline BEG Stephen Buehler Make Your TV & Feature Scripts Funnier ADV Wendy Cutler & Devorah Using Improv Techniques for Comedy PRO William C. Martell The Naked Character ADV Sara Caldwell Marketing Mayhem-Getting Your Script to Cutler-Rubenstein Writing PRO William C. Martell Guerrilla Marketing Your Script Screen ADV Beverly Gray Fast And Cheap: The Low-Budget ✪ PRO Dennis Palumbo Beating Blocks ✪ BEG Carolyn Handler Miller Writing for the Family Market Screenplay ✪ PRO Jim Pasternack Directing: Light & Metaphor ✪ ADV Fran Harris Writing A Sellable Non-Mainstream ✪ ADV Heather Hale PowerNetworking From Afar ✪ PRO Linda Seger Communicating Your Theme Screenplay ADV Christopher Keane How to Adapt Anything to the Screen ✪ ALL Pamela Jaye Smith Create Characters With 8 Centers of ✪ BEG Michael Hauge Writing Romantic Comedies And Love PRO Jeff Kitchen Constructing With Sequence, Proposition, Motivation Stories Plot ADV Matthew Terry Giving and Taking Criticism ✪ BEG Kerry Knowlton How to Write, Sell A Screenplay in 2 ✪ PRO Dara Marks Inside Story 1—Develop ADV Taylor Van Arsdale Development: Making a Good Script Weeks Transformational Arc Better ✪ PRO Bill Marsilii From Premise to Plot ADV Bonnie MacBird Writing to the Actor ✪ ALL Cynthia Whitcomb Writing Using Both Your Right and Left Brain ADV William C. Martell High Concept Hollywood ✪ PRO Jim Pasternack Directing: Lenses, Moving The Camera BEG Sean J. Jordan & Adapting Your Screenplay into ✪ ALL Pamela Jaye Smith Alpha Babes Saturday Oct. 27, 2007, 5 PM - 8:30 PM Matthew Hansen a Comic Book ALL Chris Soth Develop Characters From Theme And Arc ALL Skip Press Great Movie Elements from Great Novels BEG Richard M. Stefanik Spiderman 3 Story Design FREE Guest of Honor (Marriott Ballroom) ✪ ADV Robin Russin The Protagonist Problem BEG Bryan Michael Stoller Penning & Pitching a Great Story BEG Nicole Berger Mastering Your Own Comedic Style ADV Derek Rydall Bullet-Proof Your Script Against Reader BEG Matthew Terry Basics of Three-Act Structure ADV Gil Bettman Shooting Action Sequences Reject ADV Taylor Van Arsdale Creating Organic Characters ADV Philippa Burgess Million-Dollar Screenwriting: ✪ PRO Linda Seger Creating a Transformational Arc ADV Jean Ann Wright From Idea to Animated Series Picture the Deal ALL Chris Soth The Making Of Outrage—Stories From ✪ ALL Vernon Zimmerman Project Assessment Guide ADV Robert Flaxman Seducing the Studio Reader ✪ The Set ADV Jennifer van Sijll Cinematic Storytelling ALL Heather Hale Writing for the Camera ALL John Truby Genres: Comedy/Horror/Fantasy/ ADV Nancy Hendrickson Put Your Script on the Screen ✪ SciFi/Masterpiece Saturday Oct. 27, 2007, 11 AM - 12:30 ADV Karl Iglesias Psychology of Subtext: Meaning Behind ADV Taylor Van Arsdale Overcoming Writer's Block the Word FREE Guest of Honor (Marriott Ballroom) BEG Karen Jacobs Funny Bonz? Sunday Oct. 28, 2007, 1 PM - 5 PM ✪ BEG David Bartlett Producing the Micro-Budget Feature Film ✪ ADV Steve Kaire Creating Slam Dunk Script Ideas ADV Gil Bettman How to Move the Camera: Part II ✪ ADV Steve Kaplan Creating & Developing Your Comedy The Golden Pitch Tournament, Session 5 ADV Linda Cowgill How to Spot and Overcome Common Plot Screenplay Renaissance Ballroom, Renaissance Montura Hotel Problems ALL Bob Kosberg Selling Your Idea, By Pitch King Robert The industry’s chance to learn about you and your scripts. BEG Devorah Cutler-Rubenstein The Insider’s Guide to Kosber Film Financing BEG Susan Kouguell Creating Memorable Protagonists, Sunday Oct. 28, 2007, 1:30 PM - 2:30 PM ✪ PRO Chris Gore A Guide to Producing Your Movie Antagonists Tentative: Keynote Luncheon Speaker or Panel ✪ ALL Heather Hale The Art of Exposition ✪ PRO Barney Lichtenstein Becoming a Story Analyst ✪ BEG Michael Hauge Creating Powerful Movie Scenes ADV Bill Lundy Using Script Analysis to Become a Pro Sunday Oct. 28, 2007, 3 PM - 4:30 PM ✪ ADV Karl Iglesias Crafting Vivid Description for Writer Emotional Impac PRO William C. Martell Action & Suspense Scenes FREE Guest of Honor (Marriott Ballroom) ALL Catherine Ann Jones The Way of Story (The Craft & Soul ✪ PRO Linda Seger Structuring Scenes And Scene Sequences ✪ BEG Pilar Alessandra Screenwriting for Tired Parents of Writing) ✪ ALL Pamela Jaye Smith Is Your Story Mythic? Workshop Your Ideas ✪ PRO David Bartlett Debugging Your Screenplay—Why It ADV Christopher Keane Why Main Character Is On Screen 85% Of ALL Chris Soth Masterpiece Drama Day: The Departed Time Won't Sell ADV Taylor Van Arsdale How to Find A Producer to Shop Your Story ADV Michael Ray Brown Creating Compelling Plots: Motive, BEG Jeff Kitchen The 36 Dramatic Situations and the ✪ PRO Cynthia Whitcomb Subplots Enneagram Intention BEG Susan Kouguell Writing the Masterpiece Drama ADV Stephen Buehler First 10 Pages: Make or Break Your Saturday Oct. 27, 2007, 8 PM - 10 PM – Networking Party Screenplay BEG Susan Kouguell Comedy Writing: How to Make Executives (Gold Pass and Ticket holders; location to be announced) ✪ Laugh! PRO John W. Cones Investor Financing of Independent Films ✪ BEG Carolyn Handler Miller Writing for the Third Screen BEG Bill Lundy Navigating the Screenwriting Industry Sunday Oct. 28, 2007, 9 AM - Noon ✪ ✪ PRO Dara Marks Inside Story 2—Build the BEG Michael Hauge Anatomy of a Screenplay—Little Miss Transformational Arc The Golden Pitch Tournament, Session 4 Sunshine Renaissance Ballroom, Renaissance Montura Hotel ✪ ADV Coleman Hough Collecting Overheard Dialogue PRO William C. Martell Elements of Horror ✪ ✪ PRO Dennis Palumbo Living the Writer’s Life The industry’s chance to learn about you and your scripts. BEG Kerry Knowlton Make a Blockbuster Movie on an Indie ✪ PRO Jim Pasternack Directing: Collaboration & Rehearsal Budget ✪ PRO Linda Seger Making Your Script Cinematic Sunday Oct. 28, 2007, 9 AM - Noon ADV William C. Martell Description & Visual Storytelling BEG Sean J. Jordan & Advanced Comic Book Writing ✪ ALL Pamela Jaye Smith Creating Our Next Mythology CS Open Scene-Writing Competition – $5,000 Prize ALL John Truby Genre Secrets— Matthew Hansen The Semifinals, if you survived Rounds 1 and 2 (locations to be ADV Peter Mellencamp The Use and Abuse of Mythology in Action/Crime/Detective/Myth/Love announced) ✪ ADV Cynthia Whitcomb Character Evolution Hollywood ✪ ADV Billy Mernit Comedy Craft for Contemporary Sunday Oct. 28, 2007, 9 AM - 10:30 AM ✪ Saturday Oct. 27, 2007, 1 PM - 5 PM ADV Tim Minear Breaking the Story BEG Susan Rogers Working with Two Strong Genres The Golden Pitch™ Tournament, Session 3 FREE Guest of Honor (Marriott Ballroom) ✪ ADV Robin Russin Good Movies/Bad Movies—What Makes Renaissance Ballroom, Renaissance Montura Hotel ✪ ADV Pilar Alessandra The Craft The Differ. The industry’s chance to learn about you and your scripts. ✪ ADV David Bartlett Producing Micro Budget Feature Film-- ✪ PRO Linda Seger Bringing Your Spirituality Into Your Part II Writing Saturday Oct. 27, 2007, 1 PM - 6 PM PRO Glenn Benest Writing Great Film Narrative ALL Chris Soth Plant and Playoff: Making Sense CS Open Scene-Writing Competition – $5,000 Prize BEG Michael Ray Brown How to Survive Coverage BEG Richard M Stefanik The Departed: Story Design for An Round 2, for those who survived Round 1 (various locations) ADV Stephen Buehler Rewriting: Giving Your Script a Major Do- Oscar-Winner Over ADV Taylor Van Arsdale First Act Foibles and How to Fix Them Saturday Oct. 27, 2007, 1:30 PM - 2:30 PM ADV Sara Caldwell Writing Horror Action Sequences ✪ Luncheon Keynote Session To Be Announced BEG Fran Harris For Newbies-How To Write A Killer First AGREED UPON BUT NOT YET SCHEDULED Script Saturday Oct. 27, 2007, 3 PM - 4:30 PM BEG Daniel Klein Script Reader Secrets: Get Past The ✪ ALL Pamela Jaye Smith Myth, Magic, Metaphysics: Gatekeeper How to Use Them ADV Chris Klug Screenwriting for Videogames FREE Guest of Honor (Marriott Ballroom) BEG Sean J. Jordan & Comic Book Writing 101 ✪ Sunday Oct. 28, 2007, 5 PM - 7:00 PM ADV David Bartlett Story, Plot And Theme Matthew Hansen ADV Gil Bettman Lensmanship — How to Force ADV Bonnie MacBird Temperament and Writing CS Open: You pick the winner! Scenes written by the two or three finalists Perspective ✪ ADV Billy Mernit Writing the Marketable Romantic Comedy will be given live readings before your eyes. Then, the audience votes. ADV Philippa Burgess Fast Track Your Success: The Career ALL Skip Press Screenplay to Novel: Make More $ With Diamond Fiction The Expo ends with a Closing Ceremony. BEG Susan Rogers Writing British Films

SPECIAL EDITION | creativescreenwriting | 13 One Writer, 70 Scripts Sold...Novelist To Prime Time...Wisdom Is Her Name...and Game Hidden Gems Of Wisdom Among The 300 Expo Teaching Sessions

“I’m not saying the particular sessions below are the ones inal Minds” and repped the Oscar winners Ernest Thompson you individually need. Only you know your needs. But and Christopher McQuarrie, as well as director Bryan Singer. whether your particular scriptwriting needs have to do with Prior to working at BWK, Victoria was an agent at ICM. Victo- structure, characters, plots, openings, how to write a particu- ria recently became a manager/producer setting up the Hilary lar genre, making people laugh, or making them gasp – or how Swank move, Labyrinths. to sell your script for a paycheck that makes your friends gasp — the Screenwriting Expo has it,” said Creative Screenwriting “One of the best screenwriting lecturers in the world.” Publisher and Expo Executive Manager Bill Donovan. James Dalessandro has been accused of being just that, by “In fact, if it doesn’t have what you need, contact us when someone who should know – Lew Hunter, co-chair of the UCLA you read this, and we’ll find the right people to teach that screenwriting program. He is another of the novelist-screen- course and add it to the program.” writers on the program, but he’s a specialist: he has adapted two of his own books for the screen. He’ll teach six classes at the Seventy feature scripts sold, 29 produced to date 2007 Expo, including, “Loglines/Treatments/Pitches,” “Adapta- How did she do it? tions: Finding the Heart of the Matter,” “Scene Study: The Secret To find out, you can come to the Screenwriting Expo Oct. Life of Screenplays,” and “Big Budgets, Big Ideas: Researching The 25-28 (registration opens 4 p.m. Oct. 24) and ask. Cynthia Tentpole Picture.” Whitcomb is teaching six classes. This veteran writer and teacher (formerly UCLA Film School, now teaching some very Want to learn to make movies? lucky screenwriters in Oregon) has also been nominated for The Expo includes a two-day film school – 12 intensive an Emmy, Cable Ace, Edgar Allan Poe, Humanitas, and Writ- hours of moviemaking for screenwriters, taught by Gil ers Guild of America awards. Bettman, an experienced feature film and TV director and film Among her classes: Character Evolution, Writing Screenplays Using professor at Chapman University, and Mark Travis, one of the Both Your Right and Left Brain, Subplots, and Writing a Great Movie most sought-after filmmaking consultants in the world, author Opening. In addition, she’s part of both the comedy and pitch- of the Los Angeles Times best-selling book, The Director’s Jour- ing/selling your story tracks, with classes on “Writing the Roman- ney: The Creative Collaboration Between Directors, Writers and tic Comedy” and her “Pitching Tool Kit.” Actors. His second book on directing, Directing Feature Films, is a required text in film schools worldwide. Novelists and screenwriters...True professional storytellers They’re not the only working novelists/screenwriters on the But you have your own agenda, and maybe it needs... program, just prime examples: Robert Ward, Steven Barnes, ...One of these unusually-named courses (You’ll have to Marc Zicree and Michael Reaves. All four are accomplished, look them up yourself to learn more): multiple-times-published and award-winning novelists. All The Gorgon in the Mirror: The How & Why of Horror four also have multiple TV and/or movie credits – Barnes, Dancing With The Wadoogee: Writing Scenes That Crackle Zicree, and Reaves in prime-time science-fiction TV shows, and with Life Ward in prime-time police dramas. Myth, Magic, Metaphysics: How to Use Them in Your Stories My Best Friend Is Black, Female and/or Transgendered: Writ- Wisdom is her name. Dispensing it is her game. ing A Sellable Urban or Non-Mainstream Screenplay OK, admittedly, it’s a bad pun. But we mean it. Victoria ...Or just practical-advice courses on how-to, like these: Wisdom will teach courses on How to Find the Right Buyer for Deepening & Layering Your Characters Your Project, What Makes a Script Saleable and Commercial, and Dynamic Dialogue How to Pitch Your Screenplay for a Sale. Writing Visually What credentials does she have for those topics? Only these: First 10 Pages: How to Make or Break Your Screenplay this agent at Becsey Wisdom Kalajian for 14 years, has repre- 3-Act Screenplay Structure sented writers and/or directors of Oscar winning films includ- All these courses and others—over 300—are offered at the ing The Usual Suspects and The Red Violin. Other BWK agency 2007 Screenwriting Expo. To register, use the form inside the clients have included Oscar hits Crash, Million Dollar Baby, and back cover of this announcement or visit us on the web at The Fugitive. Victoria also sold the hit CBS drama series “Crim- http://screenwritingexpo.com/regnow.html.

14 | creativescreenwriting | SPECIAL EDITION THURSDAY, OCTOBER 25, 2007 SESSIONS SCHEDULE cs Teaching Sessions At The 2007 Screenwriting Expo

(NOTE: We continue to add sessions. Also, Giamatti Michael Davis mine organizations from the inside out speaker needs and event logistics often make What it really took to get to the point of mak- through events and volunteering, mind map changes necessary; you should rely only on the ing a movie with stars like Clive Owen and your web of relationships, diversify your final calendar in the official program at the Expo Paul Giamatti. The truth about what it sphere of influence, expand your constella- for scheduling.) takes...when you nearly gave up, if you ever tions of connections and refine your hit did, and why...How you caused your own lists. Hit the ground running—or reboot Thursday, October 25, 2007, breaks to be made...the kind of work you took your enthusiasm. LEVEL: ADV 9 AM-10:30 AM to keep food on the table between paying writing and directing jobs... LEVEL: BEG ✪ Crafting the Outline for Your Feature Film ✪ Brian Herskowitz Pitch in a Minute Pilar Alessandra ✪ Pitch quickly and avoid producer tune-out. Okay, Fasten Your Seat Belts: Writing the Ac- If you’ve ever found yourself stuck halfway This workshop uses a written template to help tion Sequence Syd Field through a great script, or blocked because you writers define the key elements of their screen- Writing action sequences requires a strong don’t know what to do next, then this lecture play, and by doing so, pitch their script in a sense of style and creativity as well as being is for you. How character leads to choices. brief, concise, and entertaining manner that able to utilize time, the surrounding elements How to maximize conflict. The 12 GUIDE- emphasizes the hook and eliminates writer- and whatever’s necessary to make the se- POSTS to your screenplay and a host of over babble. LEVEL: BEG quence work. Action sequences don’t just tools will be discussed. LEVEL: ADV happen; they need to be designed and exe- ✪ ✪ Structural Magic: The Universal Plot Steven cuted with maximum dramatic value. It is an Mastering the Ten Essential Habits of Highly Barnes art as well as a craft. In this session, we’ll break Successful Screenwriters Karl Iglesias Structure is the backbone of writing, the skele- down and watch some of the greatest action Most screenwriting books and seminars at- ton holding all other aspects into a recogniz- sequences of the last few decades and explore tempt to teach the frustrated screenwriter able pattern. Fail to master this one key those stylistic elements that make great action what to do; this seminar will outline how to element, and regardless of your other skills, sequences. Film clips from: Pirates of the do it. Author Karl Iglesias will discuss the ten you simply will not sell. This workshop will Caribbean, Terminator 2, The Matrix, Bullitt, essential habits of highly successful, A-list introduce you to the world’s oldest, most uni- The French Connection will break down each screenwriters such as Ron Bass, Akiva Golds- versal, simplest and most powerful plot form, sequence to illustrate the art and craft of writ- man, Eric Roth, and more, offering students one applicable not only to writing but life it- ing a great action sequence. LEVEL: for those an insider’s view at how the pros discipline self! Regardless of genre, regardless of form: who have 2 scripts themselves, create original material, conquer the blank page, eliminate writer’s block, and book, film, television, or stage, structure sep- ✪ arates amateurs from professionals, and opens Madness at the Movies I: Serial Killers, Psy- persevere in Hollywood. Students will also get the door to true freedom and artistic expres- chopaths, Sociopaths Howard M. Gluss, PhD an insightful look at the realities of the busi- sion. LEVEL: BEG Explores major psychopathological character- ness directly from the top writers in Holly- izations as interpreted through a wide spec- wood. LEVEL: BEG ✪ Deep Structure, Metaphor, Genre: The Real trum of films—offering easy to understand Keys to Successful Stories James Bonnet definitions, absorbing explanations and ex- Legal and Business Aspects of Writing for Film In this class, James Bonnet will take you be- amples of characteristics and attributes. Focus and TV Paul S. Levine yond three acts, conflict and turning points on Serial Killers, Psychopaths, Sociopaths and The nuts and bolts of the business of writing to reveal the hidden structures that all great Antisocial Characters. LEVEL: ADV are as essential to a writer’s success as the writer’s work itself. How does a writer get an and successful films have in common, and the ✪ little known secrets of metaphor and genre Visualizing the Verbal Joel Haber agent and attorney? How does the writer’s which are the keys to making your stories While you may write witty dialogue, how do work get sold and how is the writer compen- truly powerful and unique. LEVEL: ADV you fare with long, active passages in which sated? The comprehensive seminar covers all little dialogue is uttered? Professional screen- the business information you need for your ✪ Writing the Thriller Ken Dancyger writer and script analyst Joel Haber examines career to flourish. Bring all your questions The Thriller can be Personal, Political or Psy- excerpts from the screenplays of well known concerning the business of being a successful chological. In each case the Thriller is the movies to highlight the techniques that help film and/or television writer—they will be an- PRO story of an ordinary person caught in ex- to create the evocative descriptions that can swered. LEVEL: traordinary circumstances. If they don’t un- enliven chases, fights, physical comedy and derstand and avoid the danger of those even sex scenes. LEVEL: ADV circumstances they will be destroyed. If they ✪ understand and prevail they are heroic. Spe- Power Networking: The Secret Hollywood To Attend the cial attention will be paid to the dramatic arc Code Heather Hale Screenwriting Expo: of each type of Thriller. Tone will also be ad- Let Heather Hale, a veteran Hollywood in- dressed in the workshop. LEVEL: ADV sider, teach you the secrets of networking Use the form on that empower YOU to supercharge your ca- the last page or go to ✪ The Journey From Film School to Writer-di- reer. Learn how to break the ice and build rector of a movie starring Clive Owen and Paul rapport, team network and work a room, http://screenwritingexpo.com/regnow.html

✪ STAR SPEAKERS Based on last year’s attendee rankings. BEG Appropriate for attendees new to the field. ADV For writers who have finished at least one script. PRO For writers who have optioned at least one script. ALL Appropriate for everyone. SPECIAL EDITION | creativescreenwriting | 15 cs SESSIONS SCHEDULE THURSDAY, OCTOBER 25, 2007

Improv for Screenwriters (20-registrant maxi- Profit Dave Trottier Loglines/Treatments/Pitches James Dalessandro mum) Bonnie MacBird Thrill Hollywood readers with a script that is There is no more important skill to up and SAG actor, screenwriter (Tron) and former both formatted correctly and readable. Dave coming writers than the ability to catch the Universal studios development exec Bonnie will review essential formatting and spec writ- attention of executives and readers with a MacBird introduces Viola Spolin theater ing issues that make a difference. Avoid the short intro to their work. Lew Hunter, co- games particularly useful to screenwriters in usual mistakes new writers make and give Dean of UCLA’s graduate screen writing pro- this safe, playful workshop.. Come in comfy your script a fighting chance. Dave will also gram calls seminar leader James Dalessandro clothes and ready to play, no prior experience answer questions. FREE tip sheet. LEVEL: BEG one of the best pitch men he has ever seen. needed. LEVEL: BEG His pitch for his novel and screenplay, 1906, Thursday, October 25, 2007, resulted in an extensive Hollywood bidding Secrets of Animated Movies and TV Shows Ken 11 AM-12:30 PM war. LEVEL: ADV Rotcop From the former Creative Head of Hanna Bar- ✪ Beyond the Chick Flick: Writing The Female Breaking the Rules: How the BigDogs Do It bera, Ken will share invaluable advice for the Driven Screenplay Pilar Alessandra James Dalessandro writer looking to break into animation. Re- Don’t cry into your Haagen Dasz! Write fe- No monologues? No lengthy flashbacks? Pro- member Richie Rich and Superfriends? Ken male-driven screenplays that hang with the tagonist/antagonist must come into conflict wrote for those shows and supervised Char- big boys! This seminar will help you brain- early? Ever-mounting jeopardy? Main charac- lotte’s Web. This class will go into detail on storm original stories with female leads, re- ter must be likeable? In one of his most pop- how animation scripts differ from live action. place soft scenes with active moments, and ular lectures, novelist/screenwriter James A must for the next writer of South Park or create bold characters, all without falling into Dalessandro will dig into the heart of some of Lion King. LEVEL: ALL tired stereotypes. LEVEL: ADV recent cinema’s most brilliant moments by showing film clips of Oscar-winning films ✪ How to Deduct Your Writing Career Scott ✪ Structure from the Inside: Text AND Subtext that broke the traditional rules of screenwrit- Rubenstein Howard Allen ing. Originality is the heart of greatness, and A very practical and useful look into IRS rules As a professional actor/director turned into flying by the rules never achieved greatness. PRO and regulations. This class can save you thou- screenwriter and ScriptDoctor.com, Howard LEVEL: sands of dollars. Urban legends about hobby Allen shows a great new way of looking at rules will be debunked. How to audit-proof structure. What you need must be easy to use, Writing the Romantic Comedy Ken Dancyger your deductions. How to keep good records. organic and applicable to Any Movie we dis- The Romantic Comedy has a very specific dra- You should be able to deduct this session. This cuss. Easy means character-driven structure. matic arc, the course of the relationship of two teacher has over thirty produced credits in tel- Organic means not being chained to hitting opposite people. Two issues stand out: first the evision and features and owns his own tax page number formulas. LEVEL: ADV or tailored Character Arc-what transforms our main char- preparation business, LA Tax Service, and has to BEG acter from undesirable to desirable? And sec- been doing both professionally for the past ond, how do you make this kind of story twenty years. You will even end up with a ✪ Heart of the Matter: Deep Characterization funny and fresh. These are issues will be ad- sense of humor about the IRS. LEVEL: BEG Steven Barnes dressed in this workshop. LEVEL: ADV ✪ Character is the Heart of writing, and the Here’s the Pitch Brad Schreiber depth of your ability to create believable char- Madness at the Movies II: The Self Centered, A workshop on composing a single-sentence acters is directly related to your understanding The Histrionic, The Highly Addicted Howard M. logline for written projects, as well as learning of humanity itself. This workshop will intro- Gluss, PhD the benefits of brief but colorful verbal de- duce you to the oldest and most complete Explores major psychopathological characteri- scription of one’s written projects. Includes model of human psychology in the world, and zations as interpreted through a wide spectrum five minute pitches from volunteers and com- show you how to apply it not only to your of films—offering easy to understand defini- mentary on their technique. LEVEL: ALL writing, but your own life. Master the rela- tions, absorbing explanations and examples of characteristics and attributes. Focus on The Self ✪ tionship between plot and character, and you Graphic Adaptation Noah Stern have 90% of the skills necessary to succeed in Centered, The Histrionic, The Highly Addicted, A combination of digital technology and this business: the rest is just hard work, the The Eternally Depressed and The Damaged genre thirst have made graphic novels and right software, and a dash of luck. LEVEL: BEG Child characters in film. LEVEL: ADV comics ideal fodder for Hollywood filmmak- ing. But the art of bringing the storyboards of ✪ Great Characters: Their Best Kept Secret Writing to be Read Joel Haber comics to filmmaking requires more than just James Bonnet You already know that format errors and poor a green screen and some capes and tights. The Why are some characters easily forgotten grammar mark your screenplay as amateurish, mythology of comics and graphic novels, while others like King Arthur, Sherlock turning off any script reader to whom it is as- their characters’ motives and desires, and just Holmes, Dorothy, Superman and Scrooge go signed. Professional script analyst and screen- as importantly, the look and feel of the form on forever? The real secret of their immortal- writer Joel Haber draws on his experience to are all key to making the leap from page to ity lies in something you’ve probably never examine specific examples of screenplays that screen. The seminar will explore the creation equated with the creation of a great character were rejected, taking your understanding of of modern-day mythologies, primal goals and or a great story. In this workshop James Bon- the reader’s thought process to a higher level. quests of characters, and the creation of net will teach you this remarkable secret, and If you can get past what might annoy a reader worlds, milieus which separate these works show you how you can use it to make your and really get into his or her head, you can PRO from other adaptations. LEVEL:ADV– characters truly charismatic and merchandis- learn how to give your screenplay a better chance of garnering that coveted RECOM- ✪ able and just about everything else in your Formatting and Spec Writing for Fun and story more fascinating. LEVEL: ADV MEND rating! LEVEL: BEG-ADV

✪ STAR SPEAKERS Based on last year’s attendee rankings. BEG Appropriate for attendees new to the field. ADV For writers who have finished at least one script. PRO For writers who have optioned at least one script. ALL Appropriate for everyone. 16 | creativescreenwriting | SPECIAL EDITION THURSDAY, OCTOBER 25, 2007 SESSIONS SCHEDULE cs

Navigating Hollywood Heather Hale Money And Me: Managing Your Career Scott and teaches how to insure that your opening Learn how to survive the gauntlet of obstacles Rubenstein covers all the bases, hooks them, surprises on the journey a film or television project So you want to write a script, sell it and them and makes them want to read the whole makes from conception, through develop- move to Tahiti and meet Gauguin’s great script. (Clips) LEVEL: ADV ment, financing and packaging to distribution granddaughter or great-grandson. Make a lit- and marketing. During this entertaining tell tle impressionist and live happily-ever-after. Thursday, October 25, 2007, it like it is seminar, you’ll learn: why there are How practical is this? A hands-on money 3 PM-4:30 PM 4400 production companies but only 15 real workshop that takes you from the first sale buyers, who the main players are, how to get to your Tahitian retirement. How to start as Dancing With The Wadoogee: Writing Scenes your project into their hands, how to turn a starving writer and parlay your first option That Crackle with Life Hal Ackerman them into champions of your work, how to into a small fortune. Examine the writer’s You will come out of this seminar a changed move your projects up various simultaneous guild minimums and learn how to get the writer. You will understand, at last, how to ladders, and how Hollywood studios strive for maximum out of them. LEVEL: BEG write scenes that sparkle with life. You will blockbusters at the risk of bombs and why. be given the litmus test for valuating what Learn where the indie niche opportunities are, Make ‘em Laugh - Putting Comedy into Your you’ve done and the means to remedy mis- where No Man’s Land is in terms of film budg- Scripts Ellen Sandler takes. Bring writing materials and a short ets, and what network and cable companies More than just joke writing, in this class finished scene you’ve written. LEVEL: ADV are looking for. LEVEL: ADV you’ll discover how you can create humor that emerges from character and circum- Dynamic Dialogue Pilar Alessandra The TV Freelancer: Pitching For TV Brian Her- stance to enrich your story from an Emmy Learn quick and effective writing techniques skowitz nominated comedy writer. LEVEL: ADV to revive bland exchanges, tune up character With the emergence of reality TV, the oppor- voices, create relationship tension, and gen- tunities for the freelance, half-hour or hour Working with a Literary Consultant Brad erally bring more life to the page. LEVEL: dramatic TV writer have shrunk considerably. Schreiber ADV How can the writer looking to break in im- An exploration of the pros and cons of prove his/her chances? In this discussion we’ll working with a literary consultant, for Landscaping the Subtext for Great Moments look at writing the spec script that opens screenwriting. Includes a checklist for find- Howard Allen doors, and what to do once you’ve gotten in- ing an appropriate person to comment on As a professional actor/director turned into side. LEVEL: BEG one’s work and how to avoid scams or those screenwriter and ScriptDoctor.com, Howard who do not serve the writer’s best interests. Allen can show you what actors and directors Pitching To Sell: Engaging The Listener Emo- LEVEL: ALL look for in your screenplays. For example, did tionally Karl Iglesias you know that Plot and Character are practi- The only way to guarantee a script request is The Future of Horror Stephen Susco cally the same damn thing? Tools not formu- to interest and excite the listener with your Longtime horror fans and screenwriters las. Make great MOMENTS that sell. LEVEL: pitch. Presenting techniques from the most Stephen Susco (The Grudge, The Grudge 2) ADV successful pitchers in the biz, author Karl Igle- and Leigh Whannell (Saw, Saw II, Saw III) sias will show students how to ignite the ex- will discuss the classical elements of horror Adaptations: Finding the Heart of the Matter ecutive’s interest. Topics will include an fiction (both page and screen) and will ex- James Dalessandro insider’s view of the do’s and don’ts of pitch- amine how these techniques are utilized James Dalessandro has adapted all three of his ing to producers, the essential elements of a today in the burgeoning modern horror film books: 1906, Bohemian Heart, and Citizen great pitch, how to distill your story into a market—both correctly and incorrectly. Join Jane, for various Hollywood producers in- pitchable and enticing logline, and most im- Leigh and Stephen for an engrossing discus- cluding Wolper Productions, Warner Brothers portant, how to develop your verbal confi- sion about the current state of the genre and Film and Warner Brothers Television, and Bal- dence by practicing your pitch until it shines. where its headed as they discuss their work, timore/Spring Creek Productions. LEVEL: ADV LEVEL: ADV give an insider’s look into the development process, and take your questions! Other spe- Writing the TV Drama Series Pam Douglas PRO Optioning Rights Paul S. Levine cial guests to be determined. LEVEL: Learn how today’s episodic dramas are writ- What is an option? What rights must be op- ten: how to structure the hour teleplay, how tioned? When is it necessary to option rights? What NOT to Do In A Pitch...Plus Sudden Success characterization differs from feature films, par- What types of source material must be op- And The Years It Takes Robert Ward allel storytelling techniques, how to pitch to a tioned—books, newspaper and magazine ar- Veteran TV writer and executive producer and show, and how the TV series business works. PRO ticles, life stories, etc? LEVEL: acclaimed novelist Robert Ward will tell what We’ll cover existing series and original pilots, to avoid when you’re pitching your story. He and opportunities in traditional and new out- Secrets of a Hollywood Executive Ken Rotcop will also tell how he suddenly became a writer lets. LEVEL: PRO Having been Creative Head of four studios, for Hill Street Blues (followed by Miami vice, Rotcop knows about the finagling, manipu- The Division, and other writing and exec pro- ✪ Setting Up Character & Story Syd Field lating, and kickbacks that go on behind the ducing assignments) — and whether that This session explores the five ways a linear PRO doors of Hollywood. He blows the cover on pathway is still open today. . LEVEL: and non-linear film establish a strong and dy- the executive underground, phony writing namic story line. LEVEL: for those who have 2 contests, how novels really become best sell- Writing a Great Movie Opening scripts ers, agents, pitch sessions, books on writing, Cynthia Whitcomb and deals, deals, deals. LEVEL: ADV What ingredients go into making a fabulous Close Up: Creating Psychologically Authentic opening scene sequence? Cynthia shows clips Characters Howard M. Gluss, PhD

✪ STAR SPEAKERS Based on last year’s attendee rankings. BEG Appropriate for attendees new to the field. ADV For writers who have finished at least one script. PRO For writers who have optioned at least one script. ALL Appropriate for everyone. SPECIAL EDITION | creativescreenwriting | 17 cs SESSIONS SCHEDULE THURSDAY, OCTOBER 25, 2007

This seminar has been developed from the Most importantly, how can a writer get repre- labor over your break-through screenplay? Workplates of Dr. Gluss’ book, Reel People. sentation? LEVEL: BEG Dave reviews 17 ways to establish yourself These Workplates give writers a useful tem- as a writer (some of which you may not have plate of questions to ask themselves when de- Perfect Pitch: How to Sell Yourself and Your Movie considered) and gives you direction in each veloping internally consistent and convincing Idea to Hollywood—The Lecture Ken Rotcop area. Sell what you write. LEVEL: BEG character psychologies. The Workplates break The pitch is an executive’s first impression of down the actual creative history of a character you. They must decide whether they like your ✪ How To Create Villains Robert Ward into three categories: Historical, Psychologi- story, like you (very important!), and see infi- It’s a special skill. They are not like you and cal, and Relationships. This process allows for nite possibilities to become rich. All within me or the people we know all around us—Or such psychological themes to be explored in two minutes! Rotcop’s sure-fire tips on pitch- are they? An artist at painting the portraits character development as personality profil- ing will show you how to gently grab the ex- of villains, both in print fiction and on the ing, defense mechanisms, interpersonal rela- ecutive by the throat and not let go until screen, Robert Ward will tell how. LEVEL: tionships, and childhood development. The he/she agrees to read your script. LEVEL: ADV PRO result is a complete and far more complex character creation. LEVEL: ADV Simple Pitching Ellen Sandler ✪ the Romantic Comedy Cynthia Whitcomb In this practical workshop you’ll learn how to How to write characters that actually fall in Verbalizing the Visual: Scene Creation Workshop give the concise pitch that every agent and love with each other. Cute Meet must be fol- Joel Haber producer wants to hear. As the Emmy nomi- lowed by conflict, the crack that creates the While you may write witty dialogue, how do nated Co-Exec Producer of Everybody Loves opening for lovers to fall into. A real love re- you fare with long, active passages in which Raymond, Ellen has pitched hundreds of sto- lationship, not the cliched falling in love little dialogue is uttered? Professional screen- ries and has heard even more. She knows why montage. (Clips showing examples of great writer and script analyst Joel Haber examines ideas get bought. You will see what goes into, rom com moments) LEVEL: ADV excerpts from the screenplays of well known and even more important, what gets left out movies to highlight the techniques that help of an effective pitch. You’ll also discover the ✪ How to Pitch Your Screenplay for a Sale Vic- to create the evocative descriptions that can deceptively simple secret to putting passion toria Wisdom enliven chases, fights, physical comedy and into your pitch and connecting emotionally Learn how to master the most challenging even sex scenes. LEVEL: ADV with your buyer, without which you do not skill of a screenwriter’s career: how to pitch sell. LEVEL: ADV a story that sells. Concise storytelling helps Power Networking: Making the Connections not only a completed script, but is the key Heather Hale What Literary Agents Can, Cannot and Will Not building block in weaving a compelling plot. Take what you’ve learned in the other Power- Do Brad Schreiber Your livelihood in the film industry depends Networking classes a step further and apply This workshop features insider tips, from the on the presentation of your ideas in a short, those resourceful research techniques and per- writer’s perspective, on approaching, working but entertaining way. Walking through plot formance strategies to track down A-List with and, if necessary, leaving literary agents. points will not stimulate your buyer to be- celebrities, high profile authors or athletes or Includes guerrilla marketing tactics and true- lieve you can capture the tone of an amus- other Pie-in-the-Sky dream attachments, in- life tales both pro and con. LEVEL: ALL ing, thrilling, or dramatic story. Learn how vestors or mentors. Take it all to the next to be a storyteller. LEVEL: ADV level—learn how to follow-up—when, where, TV Power Pitch Workshop Mark and Jeanne why—and how. Get on the Hollywood radar Simon Thursday, October 25, 2007, and learn how to effectively ping your web of The best idea won’t sell without a great pitch. 5 PM-6:30 PM relationships. LEVEL: ADV Practice your TV pitch with these successful producers and learn 5 of the Greatest TV Pitch FREE Writing for Reality TV/Non-Fiction TV Writing for Emotional Impact: Maximizing the Strategies of All Time. Also take advantage of (Panel) DMA (Donna Michelle Anderson) Reader’s Emotional Response Karl Iglesias an interactive TV pitch practice, critique of at- Is reality TV a medium that might help you A must for any writer who’s mastered the ba- tendees’ pitches and develop killer TV log launch your filmwriting career, or could it PRO sics but has yet to break the barrier. Focusing lines and hooks. LEVEL: ADV- be the format you were born to write? The on the key element of all successful scripts— ✪ Alameda Writers Group and Women In Film the reader’s emotional response to the written Inside Pitch Noah Stern are sponsoring this panel, headed by DMA page—Karl Iglesias will show you fresh ways The construction of a good pitch is more than (Donna Michelle Anderson). DMA will to evoke emotion on every page of your just a sales tool — it’s a critical step in devel- moderate a high-energy panel of insider re- scripts. He’ll discuss why emotion is the key oping and refining a story. You will know your ality professionals. Her past panelists for to successful screenwriting, what readers look story better, with greater depth and reso- this subject have included story producers, for in evaluating scripts, showcase good and nance, after putting it through the pitching field directors, and production executives bad examples, and illustrate why A-list screen- wringer. This is an interactive seminar — writ- such as the Exec VP of Original Program- writers keep getting hired. He’ll also guide you ers come prepared with their pitches, and fel- ming for New Line Television (Wedding through the professional’s creative process low writers play the role of studio executives. Crashers), the VP of Production for Scout from concept to final draft. LEVEL: ADV The executives pitch to the head of the stu- Productions (Queer Eye), the Director of De- dio, the teacher. LEVEL: ADV velopment for GRB Entertainment (Addic- Getting Representation Paul S. Levine ✪ tion), plus writers, story editors and field What is the difference between an agent, a 17 Ways to Make a Living as a Writer Dave producers for such shows as Big Brother, manager, and a lawyer? When does a writer Trottier Americas Next Top Model, Modern Marvels need one? All three? What functions does Writers write. Why not make money as a and virtually every mainstream broadcast each perform? How are they compensated? writer and gather writing credits while you and cable outlet. LEVEL: ALL

✪ STAR SPEAKERS Based on last year’s attendee rankings. BEG Appropriate for attendees new to the field. ADV For writers who have finished at least one script. PRO For writers who have optioned at least one script. ALL Appropriate for everyone. 18 | creativescreenwriting | SPECIAL EDITION THURSDAY, OCTOBER 25, 2007 SESSIONS SCHEDULE cs

Writing Exercises For The Fit Screenwriter Hal Learn them. These skills will help you for ✪ What Can I Say? - A Dialogue Workshop Ellen Ackerman the rest of your life—in everything you do. Sandler Olympic athletes train their bodies to become LEVEL: ADV A highly practical set of tools and examples the instrument of their art. Writers must de- that will transform the way you write dia- velop our writing muscles. Take a 90 minute The Storyteller’s Bag of Tricks logue. These techniques are surprisingly sim- trip to the Writers Gym. Learn some amazing Nancy Hendrickson ple, yet magically effective. They’re easy to use exercises to build your scene writing and story The key to a superior screenplay is in knowing and apply to any genre or style. LEVEL: ADV structure Muscle Groups. LEVEL: BEG what to tell the audience, when to tell it, and when to hold back. Learn the tools the pros Pitching at TV Conference Seminars Mark and Surviving Rewrite Hell Pilar Alessandra use to create a riveting read - set-ups and pay- Jeanne Simon You know your script has to be rewritten but offs, surprise, reversal of expectation, dramatic Save time and money by pitching at TV con- where do you begin? Conquer your rewrite irony, how to use point-of-view and more. ferences. These successful producers will teach fears with writing tools that cut through the LEVEL: ADV you how to: Land over 25 TV pitches in 1 day, fat, highlight the hook and make your script Sign deals on the floor and What to bring. an industry must-read. LEVEL: ADV Testing Your Concept at the Emotional Level Karl LEVEL: ADV-PRO Iglesias The Secret Weapon of Great Comedy AND Did you know that 95% of novice writers fail Character as Purpose Noah Stern Thriller Scripts Howard Allen at the concept? The concept is the core of the A seminar based on my graduate thesis class, As a professional actor/director turned into script, and most insiders agree that in Holly- where break down elements of both famous screenwriter and ScriptDoctor.com, Howard wood, the idea is king. You can create a great film/tv characters and the traits which com- Allen can show you one amazing writer’s tool hero, write edgy dialogue, weave in a deep prise our own original protagonists and an- to make comedy and suspense fire on all theme, but if you choose the wrong concept, tagonists. Our goal is to define our characters cylinders. In your story’s subtext structure, or fail to develop it properly, you’re guaran- as complex, often contradictory individuals, find a dozen ways to use this device on grate- teed an uphill battle at the marketing stage. delving into their backstories (where did they ful audiences. LEVEL: ADV This workshop will focus on what makes a go to school.. what does it say in their year- great idea, regardless of genre or whether it is book?) and biographies. Assignment #1 in my Sequences: The Hidden Structure of Successful a high- or low-concept, commercial or art class is always Write the story of your life. We Screenplays Paul Joseph Gulino film, and on the three emotional require- now do the same for our characters, giving The great challenge in writing a feature-length ments of a great idea that cause that ideal re- voice to their developing point-of-view. screenplay is sustaining audience emotional action of interest, excitement, and LEVEL: BEG-ADV involvement from page one through page fascination; the itch that makes you want to 120. This seminar will explore an often-over- read the script or see the movie. LEVEL: ADV Choosing a Marketable Premise Ron Suppa looked tool that can help: a screenplay can be Good writing by new writers is not as rare as built of sequences of about fifteen pages each. Turning Books into Movies Paul S. Levine one might believe, yet few spec scripts sell and By focusing on solving the dramatic aspects What types of books get made into movies? fewer still make it to the screen. Why? Because of each sequence, a writer can more easily Into movies for television? How does this hap- many are doomed from the start. There are conquer the script as a whole. LEVEL: ADV pen—what is the business process? The legal certain essential strategies in picking any film process? Why are 60—80% of the movies in story that new writers in particular must con- Effective Use of Flashbacks and Voiceovers the theaters based on books or comic books? sider. Come and learn what they are. LEVEL: PRO Joel Haber LEVEL: BEG-ADV Flashbacks and voiceovers are much-ma- ligned storytelling devices, and there are few Perfect Pitch: How to Sell Yourself and Your Creating Your Hollywood Break-Through Strat- ways to make your script look amateurish Movie Idea to Hollywood—The Workshop Ken egy Dave Trottier than through their misuse. However, when Rotcop Learn how to create a laser-focused marketing used effectively, they can go a long way to You pitch, Rotcop will critique. Each partici- strategy. The walls of Hollywood are thick; creating a mood, creating suspense or sur- pant will be given two minutes to pitch his or you need a clear and effective campaign for prise, or simply tell your story in a unique her story. Then, after a Q&A session with the breaking through. Topics include querying, way. Professional screenwriter and script an- writer, Rotcop will demonstrate how the pitch pitching, targeting producers and agents, Hol- alyst Joel Haber highlights ways these tools could have been more effective and suggest lywood’s back door, living in/moving to LA, can be used to positive effect, using excerpts other ways to pitch your story to guarantee an and more. Avoid the #1 common error begin- from well known films as illustration. executive will read your script. LEVEL: ADV ning screenwriters make. LEVEL: BEG LEVEL: ADV-PRO How to Rewrite Your Sitcom Scott Rubenstein ✪ Pitching Tool Kit Cynthia Whitcomb Power Networking: Time & Contact Manage- How to re-write your sitcom and turn it into Creating a tool kit for pitches, including ad- ment Heather Hale the key that will get you into The Room. The Learn how to get it all together with in- Room is the place that all television shows are sightful real-world techniques. You set your written and re-written then filmed or taped. To Attend the priorities—not other people. Learn how to The class will start with a comic scene and par- keep what’s truly important at the top of ticipate in the rewriting of the scene. You will Screenwriting Expo: your list—getting done! What’s the point of experience firsthand the tricks that all com- Use the form on gathering and making contacts if you aren’t edy writers spend years learning. You will be going to cultivate them into relationships? taught the ten comedy tips that will turn your the last page or go to There are tools and systems. Use them. script into one that sizzles. LEVEL: BEG http://screenwritingexpo.com/regnow.html

✪ STAR SPEAKERS Based on last year’s attendee rankings. BEG Appropriate for attendees new to the field. ADV For writers who have finished at least one script. PRO For writers who have optioned at least one script. ALL Appropriate for everyone. SPECIAL EDITION | creativescreenwriting | 19 cs SESSIONS SCHEDULE FRIDAY, OCTOBER 26, 2007 lines, casting ideas, similar hits, genre, and ex- script fire on all cylinders. LEVEL: ADV this avenue of creativity will lead to career tras that can put your pitch over the top. The longevity in Hollywood. LEVEL: BEG Pitching Tool Kit can also be used to write hot ✪ The Emotional Pattern of Plot Linda Cowgill query letters. LEVEL: ALL The Emotional Pattern of Plot defines plot and ✪ Legal Primer: Overview of Entertainment Law illustrates that it is more than an outline of Paul S. Levine ✪ How to Sell a Spec Script Victoria Wisdom events; it’s the ordering of emotions. With this What is intellectual property? A basic So you wrote a screenplay— what’s next? understanding, writers can bring to their work overview of copyright and trademark law will Learn how to get an agent, manager, producer greater emotional depth and payoff, and be given. If there is time, other aspects of en- and a deal. Understand how to write scripts make a stronger connection with their audi- tertainment law will be discussed—protection competitively for the studios, target trends, ence. Learn how to add emotion and depth to of ideas, rights, etc. LEVEL: BEG and choose commercial subjects. Learn how your stories to make your screenplays more to collaborate and develop your material with compelling. LEVEL: ADV Introduction to Screenwriting on the Write Side development execs, producers and financiers, of the Brain Bonnie MacBird how to have a meeting with a studio executive ✪ Real Life—Reel Life James Dalessandro This unique approach which offers an alter- that can hire you, how to find and what to Finding, acquiring, adapting true life stories native or complement to structure-first based look for in your relationships with directors to the screen. By James Dalessandro, au- writing course provides a panoply of door- and actors. Most importantly, how to create thor/screenwriter of 1906, the epic of the ways to deepening, improving, and connect- longevity in a career that begins with the first great San Francisco Earthquake, and Citizen ing to the work. Many write, but few write sale. LEVEL: ADV Jane, the story of a Marin County woman well. That’s what the longer class is about, and who has solved 20 Cold Case Murders. some of the techniques, including a daily writ- Friday, October 26, 2007, LEVEL: BEG ing workout, are covered. LEVEL: BEG 9 AM-10:30 AM ✪ Twisted Worlds: Writing the Thriller Brian ✪ Directing: Preparing the Dramatic Workbook ✪ Passion into Product: How To Turn Your Per- Edgar Jim Pasternack sonal Stories Into Screenplays Hal Ackerman What makes for a great thriller? This semi- How to read, analyze, and prepare a screen- Following the model of his UCLA screen- nar will explore the elements and craft of play for the rehearsal of actors and direction writing seminars that have produced such this unique genre. We will consider how and of the crew. How to shift from literary think- writers as Pamela Gray (A Walk on the why good thrillers work, tools for creating ing to dramatic thinking. How events dictate Moon), Nicholas Griffin (Matchstick Men), deeper levels of plot and character, and find- creative choices. (It is recommended that and Sacha Gervasi (Terminal), Hal Acker- ing that fresh twist in yours! LEVEL: ADV screenwriters who want to direct attend all six of Jim’s classes, as Jim has been known to man, author of Write Screenplays that ✪ Sell!—The Ackerman Way will talk about Screenwriter’s Guide to Making Money spontaneously integrate material from one PRO writing what you love and making it David Freedman session into another.) LEVEL: saleable. LEVEL: BEG-ADV The seminar that transforms the screen- writer from a rookie to a professional: Un- ✪ The Good Guys & The Bad Guys Thomas Pope Future Perfect: The Art of Science Fiction derstanding the industry: Terms, Agent vs. Protagonists and antagonists aren’t staying Steven Barnes Manager, What’s Hot/Not; Packaging Your- still, and neither can you. As heroes evolve, so The Science Fiction genre is one of the self and Your Script: Logline and Synopsis; do the villains who confront them, each find- world’s most popular, and drives the entire Selling the Package: Query Letter and Pitch; ing new identities, and new means of ad- field of effects technology. But science fic- and Getting a Literary Agent. LEVEL: BEG vancing through, and defining themselves by, their path in a script. This seminar will look tion isn’t the whiz-bang CGI Industrial Light ✪ and Magic wizardry: it is the interplay of Preparing and Analyzing an Independent at the many new ways primary characters are ideas and the symphony of extrapolation Film Business Plan Heather Hale re-inventing both themselves and screenwrit- behind them. It is human beings caught in Business plans enable you to work through ing, and give advice on what kinds of good a shift of reality. It is the human heart every aspect of your venture on paper. Your guys and bad guys should inhabit your script. caught in the gears of the Machine. This business plan should be as polished as the It will also predict future heroes and villains— PRO workshop will explore the tropes and script it is representing. Whether it is a sim- get ahead of the curve! LEVEL: ple producers’ package to secure greenlight- memes of this vital, exciting genre, from its ✪ origins to its future. You will learn the most ing elements or a sophisticated business Never Have Writer’s Block Again Eugene Ro- important rules and principles, how to re- plan for the acquisition, development, pro- ginsky search, how to sustain the critical suspen- duction and/or distribution of an entire slate Be trained in NEVER BEFORE seen tech- sion of disbelief even in the most extreme of films for a start-up production company, niques to instantly trigger creative thinking, and bizarre scenarios. How to avoid amateur learn how to work through every issue on as well as increase energy for those long mistakes, and how to think like a profes- the page so that by the time you are making hours behind the pc. Learn how to instantly sional Science Fiction writer. LEVEL: ADV an investor presentation or launching your tap into your creative unconscious using film, you will have earned the right to be methods only a few licensed psychothera- A Structure Checklist: How to Plug the Holes in genuinely confident. LEVEL: ADV pists know. BONUS: Learn a technique de- signed to effectively establish rapport Your Script Michael Ray Brown ✪ Screenwriting has been described as a craft, Short Films: A Short Way To Success James (excellent for pitching) with anyone at any not an art. Structure is arguably the most im- Hughes time. LEVEL: ADV Exploring the techniques that separate the portant factor in a script’s success. Learn how ✪ to quickly analyze your screenplay in 18 cru- short film format from that of the feature. Revitalizing a Weak Pitch Gary Shusett cial areas. Discover what it takes to make your With a special emphasis on the reasons why The instructor has worked with hundreds of

✪ STAR SPEAKERS Based on last year’s attendee rankings. BEG Appropriate for attendees new to the field. ADV For writers who have finished at least one script. PRO For writers who have optioned at least one script. ALL Appropriate for everyone. 20 | creativescreenwriting | SPECIAL EDITION FRIDAY, OCTOBER 26, 2007 SESSIONS SCHEDULE cs writers and has the unique ability to hear a Friday, October 26, 2007, Yearning to write the next Braveheart? This pitch and instantly create a powerful version 11 AM-12:30 PM seminar will focus on what makes for a great of it. But even more important, he has had period drama, from the story idea to its real- great success in transferring much of his ✪ Unlock the Blocks: 6 Secrets to a Creativity ization on the screen. Examples of recent films knowledge to writers so they can add the Cure Rachel Ballon (successful and not) will be used, and Edgar skill to their own repertoire. The teacher will If you’ve ever wanted to write and can’t get will draw from his own experience writing a reward the best pitch of the session with a started or if you get started and then can’t big period script. LEVEL: ADV free day of a Sherwood Oaks post expo class. write, this workshop’s for you. Dr. Ballon has ✪ LEVEL: ALL helped thousands of writers overcome pro- Okay, Fasten Your Seat Belts: Writing the Ac- tion Sequence Syd Field ✪ crastination, fear of success/failure/rejection Comedy: The Dark Side of Lightness: Dra- and showed them the secret of how to over- Writing action sequences requires a strong matic Conflict For Your Comedies Pamela Jaye come personal, creative and psychological sense of style and creativity as well as being Smith blocks and start to write again. Each session able to utilize time, the surrounding elements Comedy needs a Dark (or at least Dim) Side: tackles a different aspect of the writing life and whatever’s necessary to make the se- Dr. Evil and Mini-Me in Austin Powers, Cold stumbling blocks—from conquering Page quence work. Action sequences don’t just War cartoon spies Boris and Natasha in the Fright and the perils of procrastination to tap- happen; they need to be designed and exe- Bullwinkle series, Cruella DeVil of Dalma- ping into your sub-conscious and nurturing cuted with maximum dramatic value. It is an tian deviousness, bad bureaucracies, bum- the writer within. So, lie down on Dr. Rachel art as well as a craft. In this session, we’ll break blers, Nature’s roadblocks— Evil may not Ballon’s couch, and send your creativity—and down and watch some of the greatest action always pay, but you can make it awfully productivity—soaring and your writing life sequences of the last few decades and explore funny. LEVEL: ALL moving forward and upward toward success! those stylistic elements that make great action LEVEL: BEG-ADV sequences. Film clips from: Pirates of the Meet Dr. Ed Ed Solomon Caribbean, Terminator 2, The Matrix, Bullitt, For recurring, chronic writing problems or ✪ The Gorgon in the Mirror: The How & Why of The French Connection will break down each unique, one of a kind hiccups, be prepared Horror Steven Barnes sequence to illustrate the art and craft of writ- to relate what’s been ailing you—the more Look it up for yourself: Horror films have the ing a great action sequence. LEVEL: for those specific the better—and it will be discussed best cost/profit ratio of any genre. Audiences who have 2 scripts with an eye toward not just solving your have an inexhaustible appetite for them—and ✪ specific writing problems but also to how it studios are dying to pay you to write them. Developing and Writing the Adaptation relates to larger, more wide-spread writing is- But there are rules, honed over centuries of Heather Hale sues. Join Men In Black’s Ed Solomon in this folklore and fable, and decades of film, televi- Learn how to track down whoever’s true life interactive workshop where you lay your sion, and novels. Fail to understand what this story it is—or the author or journalist who story problems on the table and the doctor complex genre really is, what its fans need, captured it on the page - or any other people advises. Workshop-like format will provide how to trigger the deepest darkest emotions, involved—and get into partnership with tips for everyone interested in improving or how to set up and pay off suspense se- them. How to condense a life (or a novel, play PRO their writing. LEVEL: quences, and you will fail. By analyzing the or news article) into two entertaining hours most profitable and influential horror films driven by a unifying theme. Not a class on Second Act Struggles Matthew Terry ever made we will peel away the mystery and law—a class on the real world management of The Second Act is the largest part of your reveal the truth: Horror films are today’s dark relationships—and the development of a story screenplay - and the demise of many a fairy tales, today’s mythology, and one of the into a marketable literary asset. LEVEL: ADV writer. How do you keep the momentum most direct tap-root into the collective un- going? LEVEL: BEG conscious. LEVEL: ADV Sell Your Story in 60 Seconds Michael Hauge Whether at Expo Pitch Meetings or on the ✪ Script Analysis and Breakdown for the Direc- ✪ The Role of Conflict & Principles of Action in telephone, screenwriters and filmmakers re- tor. Mark Travis Plot Construction Linda Cowgill peatedly face the challenge of having only a Directors have unique way of looking at the The Role of Conflict and The Principles of Ac- minute or two to convince the people in script as they are preparing for rehearsal and tion explain the dynamic functions of conflict power to read their screenplays. This hands- production. In this essential seminar, Master and action in defining plot and character. This on workshop will explore the key story com- Teacher and Director Mark W. Travis will take seminar shows how conflict is key to devel- ponents that will guarantee success and will you step-by-step through a process that will oping successful stories as well as compelling give selected participants direct feedback on bring new insights into the material you have characterizations, and how understanding the their story concepts and pitches. LEVEL: BEG - written or the material you are about to direct. principles of action allows writers freedom ADV PRO LEVEL: from formulaic plotting. LEVEL: ADV Crafting Complex Characters for Emotional Im- ✪ Life’s a Pitch David Zuckerman ✪ Scene Study: The Secret Life of Screenplays pact Karl Iglesias There are two basic ways to sell your proj- James Dalessandro It isn’t what happens to people on a page; it’s ects to the Hollywood Elite: verbal pitching Structure is mathematical: the true creativity what happens to a reader in his heart and and query letters. In this highly interactive in American film lies in the strength of The mind. Expanding on the key element of all class that includes plenty of practice pitch- Scene. If the paragraph is the building block of successful scripts—the reader’s emotional ex- ing, David will discuss ways to improve your fiction, the Scene is the heart of film. LEVEL: perience—author Karl Iglesias will showcase verbal pitching skills and your query letters. PRO techniques and tricks of the trade from highly Best Pitch winner receives free Final Draft successful screenwriters to instantly human- software worth $250. LEVEL: ADV ✪ Writing the Period Drama Brian Edgar ize a character and achieve that elusive emo-

✪ STAR SPEAKERS Based on last year’s attendee rankings. BEG Appropriate for attendees new to the field. ADV For writers who have finished at least one script. PRO For writers who have optioned at least one script. ALL Appropriate for everyone. SPECIAL EDITION | creativescreenwriting | 21 cs SESSIONS SCHEDULE FRIDAY, OCTOBER 26, 2007 tional connection actors look for. Topics will From wacky gags to clever quips, it all comes niques from his new book, The Anatomy of include the six key questions for building down to that most basic unit of comedy—the Story. Most writers have only a vague notion characters, how to reveal character on the well-crafted joke. This seminar explains the of the techniques used by professional writ- page, the three keys to character connection, mechanics of setups and punchlines, and ex- ers. The result: their stories lack the craft, and the distinction between character emo- amines how these clunky components can be surprise and emotion needed to make a suc- tion vs. reader emotion. LEVEL: ADV blended into smooth, funny dialogue. By the cessful pitch or a big sale. Now John Truby author of best-seller Writing Television Sit- reveals 10 essential story techniques to put Directing: Visualization & Staging the Deep coms. LEVEL: BEG you over the top. LEVEL: BEG-ADV Focus Master Jim Pasternack How to create storyboards and blocking dia- ✪ Thriller: Stalking the Dark Side—Creating ✪ Writing Your First Screenplay grams. How to stage and shoot a scene in one Complex Antagonists and Conflict Situations David Zuckerman shot in the style of Orson Welles and William Pamela Jaye Smith David will provide advice on writing screen- Wyler. (It is recommended that screenwriters Explore the mythic and psychological foun- plays, including how to prepare yourself to who want to direct attend all six of Jim’s dations of effective antagonists. Sample vari- write, outlining your script, correct format- classes, as Jim has been known to sponta- ous ways-and-means of villainy. Learn the ting, writing good dialogue, and the 3-act neously integrate material from one session Lures of the Dark Side. Use the 3 Levels of the structure. Additionally, he will talk about into another.) LEVEL: PRO Dark Side to add depth to your story and char- what to expect from producers who buy the acters. LEVEL: ALL rights to your script. LEVEL: ADV Add Psychological Dimension to Your Characters Eugene Roginsky ✪ The Return of the R-Rated Comedy Blake Sny- Friday, October 26, 2007, Add psychological dimension to your story der 1 PM - 2:30 PM with ACCURATE, DEEP characters. This sem- In a hilarious dissection of American Pie, inar will explore the Dependent Personality, Something About Mary, Wedding Crashers, ✪ Myth, Magic, Metaphysics: How to Use Borderline Personality, Anti Social Personality The 40-Year-Old Virgin, and this summer’s Them in Your Stories Pamela Jaye Smith (‘Sociopathic’), Obsessive Compulsive Person- Knocked Up, author and screenwriter Blake The supernatural and the unexplained are ality, The Child Abuser, Self Mutilator, and the Snyder will use examples from his new book, all the rage: magic, channeling, crop circles, Dissociative Identity Disorder (multiple per- Save the Cat! Goes to the Movies, to discuss remote viewing, psychic spies, aliens, angels, sonality). Learn how these personalities are how edgy comedy must also deliver a positive altered states, ESP, time travel, multiple di- shaped and life they create for others. LEVEL: and thematic story. LEVEL: ADV mensions... Explore the geography and psy- ADV ✪ chology of these other realities, learn ways Turning Your Screenplay into a TV Pilot Ellen Hooking the Audience and Exploring the First to use them to give your stories internal in- Sandler Act Matthew Terry tegrity and unique power. LEVEL: ALL Does your story hook the audience? How to Your screenplay could have a second life as an build momentum right out of the gate - and Friday, October 26, 2007, original TV script. The preferred read among how to keep that momentum going. LEVEL: 3 PM-4:30 PM agents and producers currently are original BEG pilot specs—if you’ve got a screenplay, you’re ✪ The Semantics of Antics: Analysis of 5 Great half way to TV pilot. This workshop breaks Directing the Actor and creating Characters. Comedy Scenes Hal Ackerman down the elements of a television series pro- Mark Travis Looking at the laugh triggers of five classic posal and outlines the differences between a At the core of every film are characters in re- comedy scenes. We will be screening scenes feature and a series pilot. LEVEL: ADV lationship and every writer and director must from Tootsie, Lost in America, Seinfeld, understand both the psychology of character Fawlty Towers, Mon Oncle (Jacques Tati) ✪ 13 Things Bad Screenwriters Commonly Do and the techniques and tools of acting. In this amidst discussion of others. LEVEL: ALL Brad Schreiber seminar, Master Director and Teacher, Mark A humorous but nuts-and-bolts workshop on Travis, will take you through the intricate ✪ How to Create Characters With Emotional common formatting and creative errors that process of working with actors and demon- and Psychological Depth (based on her book screenwriters often make, based on Brad’s strate the Travis Technique, which consis- Breathing Life into Your Characters) years as an executive and head of develop- tently generates powerful performances. Rachel Ballon ment for film and TV director Jonathan Ka- LEVEL: PRO The character driven script filled with emo- plan (THE ACCUSED, E.R.). LEVEL: ALL tional conflicts and complex characters that ✪ Screenwriting Secrets & Lies: Writing Sub- touch the heart translates into the most pow- The Pitch Analyzing Clinic Gary Shusett text Wendall Thomas erful and popular films. Based on the thesis What makes a pitch good and what makes a There is a simple, powerful way to elevate that writers can’t give to their characters and pitch bad? And why some writers may not be both the drama and comedy in any script: stories what they can’t give to themselves this aware of the difference. This class will analyze subtext. This seminar will show you how to workshop will show writers how to create as many pitches as possible to help writers use a character’s secrets, lies, and self-con- emotional relationships and characters’ psy- make their best pitch as effective as possible. sciousness to create conflict in individual chology so as to write great scripts. Partici- The instructor will award the best pitch of the scenes and to improve the overall structure pants will learn how to tap into their Inner session a fee day of a Sherwood Oaks post and dialogue of your script. LEVEL: ADV cast of characters and stories in order to de- expo session. LEVEL: ALL velop realistic, believable and HONEST char- ✪ Anatomy of a Story: 10 Great Techniques acters that are emotionally moving and have ✪ Comedy Writing: Build a Better Joke Evan John Truby a ring of truth. LEVEL: ADV Smith John Truby explains 10 great story tech-

✪ STAR SPEAKERS Based on last year’s attendee rankings. BEG Appropriate for attendees new to the field. ADV For writers who have finished at least one script. PRO For writers who have optioned at least one script. ALL Appropriate for everyone. 22 | creativescreenwriting | SPECIAL EDITION FRIDAY, OCTOBER 26, 2007 SESSIONS SCHEDULE cs

✪ Navigating the Studio System Philippa a contest-winning writing sample versus a ✪ TV Story Structure Ellen Sandler Burgess produce-able script? How do you parlay a TV shows and commercial films are about When do you know you’ve arrived? Is it your win (or even an ancient placement) into ca- the story. Discover the one principle that first option, your first sale, your first re-write, reer traction? Should I volunteer to read? turns an idea into story. Learn the questions seeing your script on the big screen, getting Can I get paid to read? What do their cover- you need to answer to create a strong struc- an Oscar nod, or when you can’t get arrested? ages and feedback look like? Learn how to ture that takes the struggle out of script writ- This class looks at the levels of Screenwriter capitalize on contests as yet another tool in ing and gives you freedom to take the risks from aspiring through A-List. It tackles the re- your arsenal. LEVEL: BEG that make your script original and fresh. The ality that is not as difficult to get started, as it reference point is television, but the princi- is to move through the ranks with ease and The Hero’s 2 Journeys: Mastering Story Struc- ples apply to every story you will ever write, avoid getting stuck in the murky middle be- ture and Character Arc Michael Hauge no matter what the genre. Viewing the tech- tween New Writer and A-List. She will discuss In every successful screenplay, the Hero niques through the short format of TV, with you, the writer as a package and a brand; takes two intertwined journeys, one of makes them easier to see and faster to apply. making the most of your script portfolio; how achievement, and the other of transforma- LEVEL: ADV to prepare to answer the question, What’s tion. As your characters pursue clear, visible next?, how the sales and packaging process objectives, they must also confront their ✪ How Difficult is Your Journey Brad Schreiber works, and choosing the right representation. deeper fears and desires in order to find true A spiritual look at the identity of writers, in- It will help you create a vision for your career fulfillment. This presentation will provide a cluding the work of Carl Jung, Joseph Camp- that includes honing your craft, nurturing unique understanding of the ways plot bell, Christopher Vogler and a little-known your relationships and building on your suc- structure and character arc are united and Greek philosopher named Platostotle. This cesses. LEVEL: PRO intertwined, and provide the tools to create workshop also accents often overlooked as- deeper, more compelling, and more com- pects of marketing and career development The Tools of Plotting & The Sequence of Story mercial stories and characters by exploring for writers of any type or genre. LEVEL: ALL Linda Cowgill your hero’s wounds, longings, identities and A successful plot depends on conflict and destinies. LEVEL: BEG - ADV ✪ Rebuilding the Writer’s Dream Gary Shusett movement to build tension and momentum Many writers do not find what they seek be- while at the same time it must expose charac- Crafting Compelling Stories for Emotional Im- cause they can’t accurately interpret the dif- ter and motivation to create meaning. This pact Karl Iglesias ferent paths to success. If there has been an seminar concentrates on tools that will help Without emotional involvement, a story is obstacle to a writer’s achievements, then the you design your story to increase emotional just a sequence of events, nothing more than instructor will determine a way to overcome impact, strengthen momentum, deepen char- words on the page, not the experience the it based on techniques that have worked for acterizations, and clarify exposition. LEVEL: reader craves. Going beyond what most sem- numerous students. He can assist in creating ADV inars and screenwriting books offer—rules, a plan that has worked for many and is open page templates, and plot formulas—this class to sharing his insight so others may gain Big Budgets/Big Ideas: Researching the Tentpole goes right to the source: the work of highly perspective. These methods include role Picture James Dalessandro successful screenwriters, showcasing powerful playing, blunt feedback, psychodramas, hu- Seminar is given by James Dalessandro, best techniques for crafting compelling stories. morous analogies and any way he can get selling author and screenwriter of 1906, the Topics include the five essential emotions in the writer to accomplish the positive direc- epic tale of the great San Francisco Earthquake all successful stories, including techniques for tion that student needs. LEVEL: ALL and Fire. Researching and writing the tent- achieving each, grabbing the reader in the first pole picture. Mixing fact and fiction is a tricky page, suspense vs. curiosity, emotional mo- ✪ Story Structure 2007: Old Dog, New Tricks and challenging endeavor. Dalessandro will ments vs. conflict, and the power of anticipa- Evan Smith talk about finding the elements of an epic tion. LEVEL: ADV Love it or hate it, the Hollywood Formula is story, how to blend fact and fiction, what still what drives most of today’s best films and makes Hollywood want to write those big Rewriting Dialogue Karen Jacobs TV episodes. This seminar will present a de- checks, and how to survive the development Techniques for honing your dialogue to de- tailed model of contemporary three-act struc- process. LEVEL: PRO liver emotional faultlines. How to sculpt dia- ture, using this year’s hits to illustrate key logue—selecting exacting words and phrases dramatic points. By the author of best-seller The Art of Descriptive Action Brian Edgar with unique angles and colors to create com- Writing Television Sitcoms. LEVEL: BEG At its best, descriptive action illuminates story plex vibrant characters and drive your plot- PRO and character, and transports the happy reader. lines. LEVEL: Symbols and Imagery: putting the visual in vi- At its worst, it drags the poor reader into a sual media Pamela Jaye Smith quicksand of exposition and wordiness. Learn Directing: Collaborating with an Editor Jim Learn how symbols and images have been the essential craft of writing sharp, clear and Pasternack used in story-telling across ages and cultures compelling descriptive action. LEVEL: ADV Continuity cutting to create a powerful dream-like experience for the audience. Con- What’s the Scoop on Screenplay Contests? cepts important to a director’s understanding To Attend the Heather Hale of editing and collaborating with the editor. Which screenplay contests are worth enter- (It is recommended that screenwriters who Screenwriting Expo: ing? And why? How can I assess new con- want to direct attend all six of Jim’s classes, as Use the form on tests? Are there niche contests? Which of my Jim has been known to spontaneously inte- scripts would be the smartest to submit to grate material from one session into another.) the last page or go to PRO which contest? Is there a difference between LEVEL: http://screenwritingexpo.com/regnow.html

✪ STAR SPEAKERS Based on last year’s attendee rankings. BEG Appropriate for attendees new to the field. ADV For writers who have finished at least one script. PRO For writers who have optioned at least one script. ALL Appropriate for everyone. SPECIAL EDITION | creativescreenwriting | 23 cs SESSIONS SCHEDULE FRIDAY, OCTOBER 26, 2007 and how you can do the same. Exploring a particular market? Who are the approach- pact Karl Iglesias powerful symbols and imagery used in film, able buyers in each of the marketplaces? What makes a great scene or moment at the with examples. Get guidelines for when and How does one get taken seriously by the emotional level is the focus of this workshop. how to effectively write in symbols and im- right buyer for your script? Once you have Expanding on the key element of all success- agery. LEVEL: ALL identified the right buyer, how do you go ful scripts, the reader’s emotional experience, about getting it read? How do you target author Karl Iglesias will showcase scene tech- Monster in the House: Stories That Scare Us content for marketing your spec script? niques from highly successful screenwriters Blake Snyder What are the industry tips for finding out that turn cliche2 elements into gripping The three key elements of horror—a mon- who’s looking for your script, right now? scenes that mesmerize and entertain the ster, a house, and a sin - and the current LEVEL: ADV reader. Topics will include the three types of state of the horror movie business will be the scenes, scene beats, emotional cues, discovery topics as author and screenwriter Blake Sny- Friday, October 26, 2007, and decision, contrast, and the emotional der uses examples from his new book, Save 5 PM-6:30 PM palette. LEVEL: ADV the Cat! Goes to the Movies, including the importance of a character he calls The Half Navigating TV Philippa Burgess Making Time & Space to Write Karen Jacobs Man. LEVEL: ADV What does a writer need to know about the This workshop is designed to create struc- TV business—from writing TV sample specs tured writing time in a private space given Showing Character - Getting your Characters to writing original pilots for comedy and the realities of your own life. Directed exer- Across Visually Matthew Terry drama, and long-form projects. Learn how cises and brainstorming will enable students Film is a visual medium. How do you writing for television is different from writ- to explore the rhythms and constraints in SHOW, not TELL, your character. Learn how ing and selling feature scripts. What are the their lives now. Develop strategies to access to find the tools to use to get your character career steps for a television writer? What are uninterrupted time and claim your space. across. It’s easier than you think. LEVEL: BEG television’s development seasons? What are LEVEL: BEG the best strategies for succeeding in televi- You Talkin’ to Me?: The power of dialogue Wen- sion? How to best approach interests in writ- World Enough and Time Michael Rieves and dall Thomas ing for both television and film? How to sell Mark Zicree How do you make a character memorable a published or upcoming book to television? The co-writers of Star Trek—World Enough on the page? Strong dialogue writing is key. And most importantly, learn the process of And Time will discuss the movie and show This lecture will concentrate on three spe- gaining representation, working with pro- clips. If arrangements can be made, the film cific tools in dialogue writing—vernacular, ducers and network execs, developing orig- will be shown in its entirety. LEVEL: BEG- variation and repetition—which can help inal programming and staffing on a show. ADV any writer to create the kind of specific and LEVEL: PRO unique voices which elevate a script from The Outsider, The Outcast And The Outlaw: A good to great. LEVEL: PRO Setting Up Character & Story Syd Field Character’s Relationship To Society Thomas Pope ✪ This session explores the five ways a linear The Rehearsal Process Mark Travis and non-linear film establish a strong and A character’s relationship to society is one of Mark Travis’ unique approach to working dynamic story line. LEVEL: for those who the strongest ways of understanding and with actors will be demonstrated and ex- have 2 scripts creating a script. This class will show how a plained in this powerful directing seminar. Re- character’s decision to embrace or abandon hearsal Techniques that will bring the ✪ Breaking Down the Beat Outline Heather Hale society — and just how far and by what character to immediate life and simultane- Have fun learning how to think your story means he makes these choices — can ab- ously place that character within the scene through on paper (and brainstorm collabora- solutely dictate the direction your story will will give you new tools and insights into the tively with a team) using 3 x 5 cards and take. Just how exactly does Hannibal Lecter PRO Rehearsal Process. LEVEL: butcher block paper. Learn interesting mind differ from Peter Parker, Bruce Wayne and mapping character development and story Harry Potter? The answers will surprise you Attitude vs. Gratitude: Strategies for Securing structure techniques. Learn the finite differ- —and illuminate your next script! LEVEL: PRO an Agent Richard Walter ences—and the overlap—between genres. Find ADV- Among the many myths about Hollywood, your tone. Honor your voice. Figure out your ✪ most common is the notion that it is hard to style. Leave the class with a whole new set of Character Study: The Psychotherapist Eu- get an agent to read your script. In fact, it is tools to replicate this process over and over at gene Roginsky easy. It requires no connections. All it takes home on each new project. LEVEL: BEG Seminar will explore who therapists are, is a smart query letter. Participants are in- what drives them professionally and often vited to bring a query letter if they have one. ✪ 3-Act Screenplay Structure Nancy Hendrick- torments them emotionally. It will also We will present the rules for writing the per- son cover psychological conditions treated, the fect query, and we will discuss other strate- Screenwriting gurus may tout their own diagnostic process, treatment techniques, gies regarding the acquisition of unique methods for success, but the industry the real structure of a psychotherapeutic ses- representation. LEVEL: ADV still talks in terms of three-act structure and if sion, predicting behavior, and methods of you want to be part of it, you need to speak persuasion therapists may utilize. (Time for How to Find the Right Buyer for Your Project the language. This course demystifies struc- questions / Handouts) LEVEL: ADV Victoria Wisdom ture and teaches you how to construct a well- ✪ Whether Indie, Mini-major, or Major, every shaped story in any genre. LEVEL: BEG Finding Great Ideas Ellen Sandler buyer is looking to make a great film. What In writing for TV or commercial films you is it about your material that identifies it for Crafting Fascinating Scenes for Emotional Im- must follow a strict form and yet deliver

✪ STAR SPEAKERS Based on last year’s attendee rankings. BEG Appropriate for attendees new to the field. ADV For writers who have finished at least one script. PRO For writers who have optioned at least one script. ALL Appropriate for everyone. 24 | creativescreenwriting | SPECIAL EDITION SATURDAY, OCTOBER 27, 2007 SESSIONS SCHEDULE cs something original. In this workshop you deal with all the distractions? Whose notes do Understand the key ingredients that make up will discover how to meet these demands you listen to? Join Men In Black’s Ed Solomon the commercial spec script that sells. Includes through surprisingly simple techniques de- in a discussion of all these issues and more. how to select, develop and refine the high signed specifically to let your personal voice LEVEL: ADV concept commercial idea that the studios are emerge and shine within the prescribed pa- looking for, how to understand why one idea rameters of series TV. Reference point is tel- What To Do After It’s Written Ron Suppa sells over another and how to capitalize on evision, but highly useful techniques for Strategies for marketing your screenplay or current production trends and box office suc- screenplay writing too. LEVEL: ADV teleplay and promoting yourself as a writer- cess. Learn how to save yourself valuable time for-hire, including preparing for a writer’s life, in finding the inspiring story that producers ✪ Adapting Material for TV and Film Brad protecting your work, pitching, getting repre- and executives are looking to make, by writ- Schreiber sentation, and deal-making. Ron will also ad- ing the script everyone wants to buy. LEVEL: An examination of some of the joys and chal- dress the basic steps to take in producing a ADV lenges of adapting books, articles, documen- script yourself. LEVEL: BEG taries, short stories and other forms for TV and Saturday, October 27, 2007, film development and production. Also, mar- Writing Romantic Comedy Dialogue Wendall 9 AM-10:30 AM keting and legal advice on selling the rights to Thomas one’s material for adaptation, regardless of Romantic comedies, more than any other Screenwriting—How Do I Start? David Bartlett who does the adapting. LEVEL: ALL genre, live or die on the strength of their dia- This class covers the first steps to building the logue. This seminar will suggest specific ways ✪ foundation of a strong screenplay. This is for Roadmap to Success: What to do without an to create the perfect misunderstanding of the anyone who is not certain of these two basis Agent, etc. Gary Shusett cute meet, hilarious fights, and the kind of steps: How do I start? and 2) Why am I In this teacher’s 30-year professional opinion, memorable, unique I love you that stops an stopped? Both questions are answered in a you can make it in Hollywood even without audience’s heart. LEVEL: ADV clear, simple, easy-to-grasp manner. Handout an agent or a manager. There are other av- Included. LEVEL: BEG enues to success and let him show you the ✪ Cinematic Storytelling Jennifer van Sijll way. In addition, the teacher will discuss ways There are hundreds of ways to convey ideas Why, When, and How to Move the Camera Gil to make your idea more commercial and more in moves, dialogue is but one. Many writers Bettman sellable. The teacher has a unique, creative, default to dialogue and VO creating scripts This course will teach you how to use camera and honest approach that gives almost in- that read like novels poured into Final Draft. movement to enhance your story. The under- stantaneous assistance to those writers who If you want a producer to see your script as a lying principle is that camera movement want to achieve more. LEVEL: ALL movie, then you have to write it like one. This should be invisible. It should serve the story seminar teaches you how to transform a talk- ✪ without calling attention to itself. The course Warrior Way for Writers Pamela Jaye Smith ing heads script into a cinematic screenplay; will describe the three kinds of camera move- From chivalrous knights to Special Forces, re- avoid pitfalls like directing-the-director; and ment that function in this way. Students will ligious warriors to fallen warriors, this Arche- create dynamic scenes that fully exploit the also be taught how to move the camera most type is a rich story source. Explore Warrior film medium. The class will strengthen your effectively by systematically trying to fulfill myths, characteristics, strengths, weaknesses, film fluency giving you specific tools to cre- Five specific Tasks when designing each mov- ways and means. Learn to use this powerful ate truly cinematic screenplays. LEVEL: ADV ing shot. LEVEL: ADV Archetype in your own characters and stories. And learn practical Warrior Ways for you the ✪ Staging, the Director’s most powerful Tool. The Art of Plotting Linda Cowgill writer, too. LEVEL: ALL Mark Travis The real art of plotting is effecting a natural- Staging is one of the film director’s most pow- ✪ ness of storytelling so the audience never has Dude with a Problem: Movies That Chill Blake erful tools. Used appropriately it can bring a the need nor the time to question or criticize Snyder scene to life, illuminating the subtext and the sequence of events shown. It is an emo- What do Three Days of the Condor, Die Hard, character relationships. Misused it can ham- tional flow of information that keeps the au- Sleeping with the Enemy, and Open Water per the work of the actors. In this seminar you dience rooted and invested until the climax have in common? All are in a genre author will witness the power of staging and see how resolves the story. This seminar focuses on and screenwriter Blake Snyder calls Dude with you can employ the techniques that Mark W. specific ideas to help you get to the heart of a Problem. Snyder will give insights from his Travis has developed over years of directing. your plot and get the most out of your story PRO new book, Save the Cat! Goes to the Movies, LEVEL: by adding emotion, excitement, and depth. including a key element called The Eye of the LEVEL: ADV Storm. LEVEL: ADV ✪ Screenwriting: The Whole Picture Richard Walter Using Improv Techniques for Comedy Writing Building A Working Writer’s Craft Ed Solomon A foolproof, shockproof, water-tight, guaran- Wendy Cutler & Devorah Cutler-Rubenstein How do you find and access your own voice? teed formula for success! In 90 minutes Prof. Most successful comedy writers, producers, How do you make your own voice fit into Walter will present the entire UCLA Master of and performers began their careers as impro- something so regimented as a screenplay? Arts in Screenwriting formula, encompassing visers (Chevy Chase, Robin Williams, Lily What are the writing habits that will best suit story, character, dialog, and description. Just Tomlin). Improv helps writers think outside your specific style? How long should you add discipline, talent, and most important, the box and helps you connect to a creative write each day? Should you write each day? patience. LEVEL: ADV flow that supersedes your critic. Learn how to How do you know when an idea is ready to ✪ instantly short circuit writer’s bloc and access write? How much do you outline? How do What Makes a Script Saleable and Commer- authentic characters on the spot. LEVEL: ADV you know when you’re done? How do you cial Victoria Wisdom

✪ STAR SPEAKERS Based on last year’s attendee rankings. BEG Appropriate for attendees new to the field. ADV For writers who have finished at least one script. PRO For writers who have optioned at least one script. ALL Appropriate for everyone. SPECIAL EDITION | creativescreenwriting | 25 cs SESSIONS SCHEDULE SATURDAY, OCTOBER 27, 2007

Fast and Cheap: Writing the Low-Budget Screen- formational Arc of Character Dara Marks ✪ Basics of Three-Act Structure Matthew Terry play Beverly Gray In the process of developing plot and charac- Thinking of your film in terms of the three- Most screenwriters break into the business ter, writers often lose track of what is impor- act structure. The core building block of with low-budget projects, and there’s an art to tant and meaningful. Understanding how to screenwriting. LEVEL: BEG knowing how to craft (and how to pitch) a utilize the Transformational Arc greatly ex- script that can be filmed cheaply and effec- pands a writer’s ability to identify and stay fo- ✪ Creating Organic Characters Taylor Van Ars- tively. This seminar reveals the practical con- cused on unifying principles that link plot dale siderations that separate viable scripts from and character to the thematic, emotional and This lecture discusses how to hone and fine- those that land in the reject pile. LEVEL: ADV even spiritual dimensions of a story. LEVEL: tune your characters in order to enhance for- PRO ward motion of your story. Presents ways to PowerNetworking From Afar Heather Hale ✪ overcome the obstacles of the plot driven Learn how to use all the PowerNetworking Directing: Lenses, Moving Camera & Subjec- story (whether the project is a novel or a tools and from anywhere. Discover all the tive Point Of View Jim Pasternack script) and provides practical methods on how great resources available to you on the Inter- How to see through lenses; how and when to to find your characters POV, inner voice and net, in trade papers, industry magazines, with move the camera; how and when to experi- the ever elusive, motivation-justification are your local Film Commissions, organizations ence the scene from a character’s direct point detailed. Handouts include the 14 essential and events to get you beeping on the Holly- of view. (It is recommended that screenwriters character questions. LEVEL: ADV wood radar—and pinging your web of rela- who want to direct attend all six of Jim’s tionships. Learn secrets of making it in classes, as Jim has been known to sponta- ✪ Cinematic Storytelling Jennifer van Sijll Hollywood without leaving your safety net, neously integrate material from one session There are 100s of ways to convey ideas in PRO tips and tricks for breaking in if you are will- into another.) LEVEL: moves, dialogue is but one. Many writers de- ing (or planning) to move—and exit strategies ✪ fault to dialogue and VO creating scripts that if you can’t wait to get back home. LEVEL: ADV Alpha Babes Pamela Jaye Smith read like novels poured into Final Draft. If you After the Goddess, after feminism, The Rules, want a producer to see your script as a movie, How to Adapt Anything to the Screen Christo- Sex And The City—what’s a real girl to do? Be- then you have to write it like one. This semi- pher Keane come an Alpha Babe! In our quest for better nar teaches you how to transform a talking 87% of all academy award winners are adap- roles for women what better inspiration than heads script into a cinematic screenplay; avoid tations. From a personal journey to a comic outstanding, complex individuals of honour, pitfalls like directing-the-director; and create book to The Departed. There are rules: creative daring, innovation, caring, loyalty and vision dynamic scenes that fully exploit the film and legal. Come by and I’ll tell you how to do — who just happen to be female. LEVEL: ALL medium. The class will strengthen your film it, what to watch for, and watch out for. ✪ fluency giving you specific tools to create truly LEVEL: ADV Develop Characters From Theme And Arc cinematic screenplays. LEVEL: ADV Chris Soth ✪ Constructing a Script with Sequence, Propo- Movie characters are not people. They share ✪ From Idea to Animated Series Jean Ann sition, Plot Jeff Kitchen some characteristics with people, they are por- Wright Jeff Kitchen teaches a hard hitting course on trayed by actor-and-actress-people, but they’re How do writers take the glimmer of an idea his three-step process, Sequence, Proposition, really beings crafted to tell a story and more and expand it into an animated television se- Plot, which studio development execs consis- importantly, illustrate a theme. Learn how to ries that sells? Discover techniques for devel- tently say is the most advanced development craft your characters to your story, your story oping ideas around loveable characters to tool in the film industry. Jeff will explain the to your characters and your theme to each create an original series that kids want to tool and illustrate it with, Training Day. Par- character’s arc—and really make it POP. watch. Learn to write a series bible, commis- ticipants should know the film. He then LEVEL: BEG-ADV sion artwork, and evaluate the market for your demonstrates Sequence, Proposition, Plot, pitch. LEVEL: ADV using it to build a script on the spot. This re- ✪ SPIDERMAN 3: Story Design for Creating a markably powerful structural tool is great for Popular Hollywood Movie Richard Michaels Ste- ✪ Screenplay Assessment Guide both plot construction and script analysis, fanik Vernon Zimmerman and will help you to consistently build screen- An analysis of the plot structures and charac- Okay, so you’ve written a screenplay or plan plays that work. Solid handout materials pro- ter development techniques found in one of to write one. Now what? Where has your vi- PRO vided.. LEVEL: the most financially successful movies of sion led you? Does your material satisfy the 2007. Why this movie became a megahit! current marketplace? And if so, how? We will Writing to the Actor Bonnie MacBird LEVEL: BEG analyze your story elements in class to prepare Ever been surprised by how an actor reads ✪ your answers to the tough questions the in- your words? Learn how an actor breaks down Penning & Pitching a Great Story Bryan dustry will ask beginning with, So what’s it all a scene, and how you can more explicitly Michael Stoller about anyway? LEVEL: ALL write to get the interpretation you really want This seminar discusses structure, creating con- - without too many parentheticals! Submit a flict, thinking outside the box, high concept, Saturday, October 27, 2007, 11 AM three page or less scene for one male and one developing characters, tips on putting it all to- female actor to instructor by xxx date and(xxx gether, using index cards, writing software, Producing the Micro-Budget Feature Film— some number) will be read and examined in and how to get your screenplay to the right Part I David Bartlett class, using experienced film/television actors people: how to pitch your story, and what to A command performance of the very popular to demo. LEVEL: ADV do when someone wants to option or pur- 2006 seminar! Focuses on the producer, di- chase your screenplay. LEVEL: BEG ✪ rector and writer interested in creating a fea- Inside Story: (Part 1)—Developing the Trans- ture length film for under $650000. Topics

✪ STAR SPEAKERS Based on last year’s attendee rankings. BEG Appropriate for attendees new to the field. ADV For writers who have finished at least one script. PRO For writers who have optioned at least one script. ALL Appropriate for everyone. 26 | creativescreenwriting | SPECIAL EDITION SATURDAY, OCTOBER 27, 2007 SESSIONS SCHEDULE cs covered are: planning the film from blank writer/producer of My Big Fat Independent The character wants to run and hide? Slam all pages to getting distribution sales before you Movie, is basing this seminar on his upcom- doors to the past. Seal them off. Who is this start, developing and securing the screenplay, ing book of the same title. LEVEL: PRO fool? The one who will get you up in the casting and SAG, the shooting crew, the im- morning and to the machine. That’s who. portance of food, the vital need of pre-pro- The Art of Exposition Heather Hale LEVEL: ADV duction planning, the camera you choose, Pruning your narration, refining your dia- why production sound is the make-break logue and killing your babies are some of the ✪ The 36 Dramatic Situations and the Ennea- point of foreign sales, electronic post planned most critical skills for a screenwriter to learn. gram Jeff Kitchen before you shoot a frame and what a deliver- Learn where and how to bury back story, Jeff Kitchen presents the 36 Dramatic Situa- able is and how it is vital for your sales. Hand- deftly lay pipe, subtly set-up for later pay-offs tions and the Enneagram, two remarkably out Included. LEVEL: ALL and use exposition as ammunition in conflict versatile resources for screenwriters. The 36 in motion. Don’t just learn tips and tricks— Dramatic Situations, a powerful brainstorm- How to Move the Camera: Part II Gil Bettman learn the trade. You have to master the craft ing tool, is a set of dynamic story elements This course will complete the students’ un- before you can excel at the art. LEVEL: ALL that help you explode with ideas, shatter derstanding of how to design good moving clich2, and vaporize writer’s block. The En- shots—specifically good moving masters. Creating Powerful Movie Scenes Michael Hauge neagram is a comprehensive personality pro- Since no moving master can completely fulfill Good scenes are like great movies in minia- filing system that gives screenwriters a great all Five Tasks at all moments during a shot, a ture: they draw the reader into a unique real- way to create and develop complex, deep, and director must learn to identify the correct or- ity; create empathy and identification with lifelike characters. Jeff will do working demon- ganizing principle for balancing the demands the characters; reveal compelling desires and strations for each tool, with hand-outs pro- of the Five Tasks against each other. LEVEL: insurmountable conflicts; contribute to char- vided. LEVEL: BEG ADV acter growth and theme; provide a blueprint for direction and performance; and elicit big- ✪ Comedy writing: How to make Executives Common Plot Problems: How to Recognize and ger-than-life emotions. Using examples from Laugh! Susan Kouguell Overcome Them Linda Cowgill a variety of recent successful films, this semi- Great comedy screenplays require perfect While many writers seem to understand a nar will reveal the elements of action, de- pacing and rhythmic timing, witty dialogue, screenplay’s structural concepts, they still scription and dialogue that will ensure the dynamic characters, an unpredictable plot, don’t grasp what makes a great script work on overall success of your screenplay. LEVEL: BEG and unexpected and hilarious story twists paper. As a result their own stories feel flat, - ADV and turns. This seminar will provide hands- complicated, yet at the same time underde- on information to solidify these must-have veloped. This seminar does just what the title Crafting Vivid Description for Emotional Impact elements, analyze box-office hits, and reveal says: points out common plotting problems Karl Iglesias the inside scoop on writing the successful and provides effective solutions for them. A screenplay should be as exciting to read as comedy film executives are looking for! LEVEL: ADV the movie will be to view, and this requires LEVEL: BEG writing designed to involve the reader. Ex- The Insider’s Guide to Film Financing Devorah panding on the key element of all successful Writing the Masterpiece Drama Susan Kouguell Cutler-Rubenstein scripts, the reader’s emotional experience, au- Creating a gripping drama demands crafting Before you finish the script, before you acquire thor Karl Iglesias will discuss the basics of memorable characters whose dialogue is dis- a literary property, when your idea is just an emotionally evocative writing. Topics will in- tinct and realistic, a unique and compelling idea, you can start raising money for your clude how to command attention on the plot, and a solid structure with ever-rising movie. You can get a jump on Hollywood. page, energize descriptions, seamlessly weave stakes. This seminar will provide hands-on You can avoid approaching producers, agents, exposition into description, and trim the fat. tools, focusing on what story analysts and and managers hat in hand. And it won’t be an LEVEL: ADV film executives look for, as well as script analy- arduous process! Raising money is easiest ses of box-office hits in this genre. LEVEL: when you approach the most suitable targets. ✪ The Way of Story (The Craft & Soul of Writing) BEG But how do you find individuals, associations, Catherine Ann Jones companies, and other enterprises who will res- The Way of Story offers an integrative ap- Navigating the Screenwriting Industry Bill Lundy onate with your story? And once you find proach to writing narrative, combining solid Consultants, websites, pitch marts, contests— them, how do you get them to part with their craft with experiential inner discovery. Craft there are a lot of ways to spend money to en- funds? Bring your scripts and ideas and we alone is not enough. No other writing work- hance your craft and gain exposure. But will work on your specific projects! LEVEL: shop offers the solid craft to guarantee a good which ones really work and which ones rip BEG story along with the intangible inner dimen- you off? Learn the truths about the exploding sions of writing. The transformation of good industry of screenwriting from a working PRODUCE YOURSELF! The Screenwriter’s Guide writing depends on making it one’s own from screenwriter who’s tried them all, as well as a to Producing Your Movie Chris Gore within. LEVEL: ALL Your script almost sold... for the 10th time! Put on a producer hat and get your script ✪ The 85% Rule: Why Your Main Character To Attend the made. This soup-to-nuts seminar will cover all Needs to be on Screen 85% of the Time Christo- the elements to get your film made from pher Keane Screenwriting Expo: fundraising to casting to scheduling to loca- Why Your Main Character Needs to be on Use the form on tions to production to promotion—all told Screen 85% of the Time Having problems with a no-nonsense approach from a screen- with your lead? Grab him or her by the neck. the last page or go to writer who actually did it. Chris Gore, the Attack all fear centers: Heart. Head. Psyche. http://screenwritingexpo.com/regnow.html

✪ STAR SPEAKERS Based on last year’s attendee rankings. BEG Appropriate for attendees new to the field. ADV For writers who have finished at least one script. PRO For writers who have optioned at least one script. ALL Appropriate for everyone. SPECIAL EDITION | creativescreenwriting | 27 cs SESSIONS SCHEDULE SATURDAY, OCTOBER 27, 2007 key writing technique guaranteed to make mythology. LEVEL: ALL ther each important aspect to move them to- your scripts more readable and sellable. wards their goals as a writer. LEVEL: ADV LEVEL: BEG ✪ 6 Genres: Secrets of Action, Crime, Detective, Myth, Love and Thriller John Truby KILLER LOGLINES: 30 Seconds to Cha-Ching ✪ Inside Story: (Part 2)—Building the Transfor- In this class, genre expert John Truby reveals Ellen Sandler & Devorah Cutler-Rubenstein mational Arc of Character Dara Marks some key techniques from his new book, The A sale often depends on getting that perfect Inside Story is an innovative approach to Anatomy of Story, that will help you write 6 of logline for the marketplace. But how does one screenwriting that illuminates the inner jour- the most popular genres in Hollywood today. successfully reduce a screenplay, novel, true ney of the character, enabling writers to build All hit films are a combination of two or three story, or television series to one or two mem- an internal structure that forms the Transfor- genres. Your success in pitching and writing a orable sentences? This lively and interactive mational Arc. Knowing how to utilize the winning script depends on your ability to class will give you the necessary tools to craft power of the Arc will enhance your ability to write the genres that Hollywood buys. In this that killer logline that’ll help you snag the at- move beyond traditional story structure and class, genre expert John Truby reveals some tention of that agent or buyer you’ve been construct scripts that are more powerful, key techniques from his new book, The courting. LEVEL: ADV meaningful and marketable. LEVEL: PRO Anatomy of Story, that will help you write 6 of the most popular genres in Hollywood today. Non-Linear Storytelling Heather Hale ✪ Elements of Horror William C. Martell LEVEL: When does a non-linear story structure serve From The Ring to Saw and Hostel, horror is your project? And when does it distract? How hot! You’ll learn everything you need to know ✪ Character Evolution Cynthia Whitcomb to decide when the emotional tract of the to write in this genre, from creating dread, loss Cynthia’s unique approach to the five levels of story is best served by mixing up the chrono- of free will, fear of the unknown, classic hor- character evolution. Creating characters that logical timeline in order to unfolding the se- ror (like The Others) vs. Stalk & Slash and change and evolve. How to move characters quence in a more intriguing way. Scenes and Modern Horror. How to create a monster. up and down the scale, to achieve uplifting or scripts pages of popular and classic films that What do Rosemary’s Baby, Night of the Liv- tragic films. Includes animal and monster cat- do it well will be analyzed. LEVEL: ADV-PRO ing Dead, The Exorcist, Bride of Frankenstein, egories. LEVEL: ADV The Others, and Open Water have in com- Grabbing the Reader in the First 10 Pages mon? This class will tell you! All of the critical Saturday, October 27, 2007, Michael Hauge elements necessary to write a script that scares 3 PM-4:30 PM The opening of your screenplay is your single the pants off the audience. LEVEL: PRO most powerful weapon for acquiring an agent ✪ or securing a deal. Most Hollywood executives ✪ Story, Plot And Theme David Bartlett Living the Writer’s Life Dennis Palumbo This popular EXPO 5 seminar returns bigger won’t read past page 10 if they’re not imme- A knowing, realistic and humorous look at the and better. Included is vital information on diately involved in your story, but will forgive realities of the writer’s life, and how best to the exact definition of Story and the differ- an abundance of weaknesses later in the script navigate both its perils and triumphs. LEVEL: ence between Story, Plot and Theme. Covers if you grab them from the moment they PRO the development of these three fundamental begin. Using examples from several Oscar- nominated screenplays, this seminar will ✪ elements of any screenplay. Once that is done Directing: Collaboration & Rehearsal Jim each of the elements is covered individually show you how to insure that your opening Pasternack in detail with examples. Handout Included. scenes draw readers into the world you’ve cre- How to collaborate and achieve optimum per- LEVEL: ADV ated, set the tone of your screenplay, establish formance from your crew and actors. (It is rec- empathy with your hero, lay the groundwork ommended that screenwriters who want to ✪ Lensmanship—How to Force Perspective Gil for character growth and theme, and compel direct attend all six of Jim’s classes, as Jim has Bettman readers to turn the page. Michael also gives se- been known to spontaneously integrate ma- Spielberg revolutionized the look of contem- lected participants direct feedback on their terial from one session into another.) LEVEL: porary films by consistently moving the cam- opening scenes, which you can read directly PRO era and forcing perspective. This course will on the screen as you hear his commentary and suggestions. LEVEL: BEG - ADV ✪ teach the student how to enhance drama and Making Your Script Cinematic Linda Seger heighten action by using different lenses to Film is about images. We’ll look at how to use force perspective. LEVEL: ADV Crafting Fresh Dialogue for Emotional Impact images as metaphors to further deepen your Karl Iglesias story and communicate your theme, as well as ✪ Fast Track Your Success: The Career Diamond The ultimate challenge for writers today is cre- using image systems that make your film co- Philippa Burgess ating compelling, authentic, fresh dialogue hesive and cinematic. Film clips will be used First you determine what the pinnicle of suc- that individualizes characters, and entertains PRO from several award-winning films. LEVEL: cess looks like for you. From there you look at the reader. Expanding on the key element of all successful scripts—the reader’s emotional ✪ the base of the pyramid which is made up of Creating Our Next Mythology Pamela Jaye four sides which provide the ultimate formula experience—author Karl Iglesias showcases di- Smith to fast track your success. The Hollywood Ca- alogue techniques from highly successful What’s the newest concept? What’s our next reer Diamond is half art and half business and screenwriters that turn flat, on-the-nose dia- mythology? Explore seven story categories half understanding and half action. The four logue into striking speech that snaps, crack- that address our present and our future. Learn sides are concept, execution, business model, les, and pops off the page. Topics include the a structure for character arcs and structure and networking. This lecture walks a writer most common dialogue problems with spe- that’s both mythic and timely. Align your in- through the four sides of their career diamond cific fixes for each, polishing devices that re- spiration with incoming ideas and ideals so and gives them an opportunity to evaluate veal character and push all the right you can help create and shape our next their careers and create an action plan to fur- emotional buttons, as well as subtext, indi-

✪ STAR SPEAKERS Based on last year’s attendee rankings. BEG Appropriate for attendees new to the field. ADV For writers who have finished at least one script. PRO For writers who have optioned at least one script. ALL Appropriate for everyone. 28 | creativescreenwriting | SPECIAL EDITION SATURDAY, OCTOBER 27, 2007 SESSIONS SCHEDULE cs vidual speech, and how to weave in exposi- Jeff Kitchen teaches the use of Dilemma, a characters? How do you communicate ideas tion. LEVEL: ADV powerful tool for ratcheting up the dramatic cinematically? We’ll look at how to under- power of any script. Trapping a protagonist stand your target audience, and embed ideas The Art of Pitching & Story Structure Catherine between two equally unacceptable alterna- into your story that have meaning to them. Ann Jones tives complicates and deepens both plot and LEVEL: PRO Invaluable feedback on film pitches from character, creating gripping dramatic action award-winning screenwriter/producer in any genre. Jeff will explain the tool, then INNER DRIVES: Create Characters Using the Eight Cathrine Ann Jones. Focus will be on story illustrate it with Jake Hoyt’s dilemma in Train- Centers of Motivation Pamela Jaye Smith structure & how to pitch to sell. Film, whether ing Day. Participants should know the film. Use the Chakras to create dynamic believable narrative or documentary, requires an emo- Next he demonstrates how to utilize this dy- characters. Individuals move between sur- tional response from reader and audience. namic tool by building an original script on vival, individualism altruism and many more. Learn how the pros do it in this fun, interac- the spot. Solid hand-out materials provided. Each physical-psychological-philosophical tive pitch workshop. LEVEL: ALL LEVEL: ADV Chakra has unique hopes, fears, strengths, weakness, actions, speech styles, etc. Motivate, Creating Slam Dunk Script Ideas Steve Kaire ✪ Creating the Great Logline Bill Lundy combine, and transform your characters using Why are the studios churning out endless se- Log lines are the #1 selling tool for your the INNER DRIVES and tap into the power of quels, remakes and movies based on old TV work—yet many writers have no idea how to mythic heroes and heroines. LEVEL: ALL series? It’s because they are bankrupt for new create a good one. Learn from The Log Line ideas. High Concept projects start out with a Doctor how to create a sharp, catchy log line Giving and Taking Criticism Matthew Terry strong, original, compelling premise that has for your story that will help you pitch it to Someone asked you to read their screenplay wide appeal. This seminar covers: The 5 Re- agents and development execs and make and give them your thoughts - how do you quirements for a High Concept Idea, Advan- them desperate to read it. LEVEL: ADV give it? Someone read your script and wants to tages of High Concept, Easiest Genres to Sell, tell you what they thought - how do you take Examples of High Concept Films, Ten Brain- ✪ Guerrilla Marketing Your Script William C. it? LEVEL: ADV storming Techniques and How to Reach Pro- Martell ducers without Representation. Whether No agent? No problem! How to make your Script Development: Making a Good Script Bet- you’re writing a screenplay, MOW, or creating own connections, find producers interested in ter Taylor Van Arsdale a TV series, you’ll learn valuable information your script, get readings and studio meetings, The first topic will cover script development. that will maximize your chances of selling. sell without an agent or manager. Instructor How the process of development enhances LEVEL: ADV has sold over 20 scripts without an agent, 17 story, structure and point of view. Examples were filmed. You don’t need an agent to sell, of scripts, before the development process and ✪ Steve Kaplan’s Comedy Intensive: The Hidden just a great script! LEVEL: PRO after will be shown and discussed. Lecture will Tools Steve Kaplan also address working with executives, what From the industry’s top stars (Jack Black, ✪ The Naked Character William C. Martell the industry is looking for and why the de- Nathan Lane, Michael Patrick King, etc.) to How to create original characters that come velopment process plays such a crucial role in first time comedy writers, producers, directors alive on the page. Story is character, but how getting a script greenlit. LEVEL: ADV and performers, Steve Kap[lan has worked do you create those amazing memorable char- with and developed the best. The proven and acters? Roles that attract stars? Starting with ✪ Writing Screenplays Using Both Your Right practical methods and principles contained in nothing, you’ll learn about active protago- and Left Brain Cynthia Whitcomb his famed Comedy Intensive course reveals nists, visual characterization, distinctive dia- How to effect a collaboration between the the hidden tools and principles that help you logue, and character moments. Dozens of right and left brains to write scripts that are understand comedy from the inside out: How character creation techniques! LEVEL: PRO original and inspired as well as solidly-struc- do you write funny? How do you act funny? tured, and highly polished. Cynthia’s unique How do you direct funny? How do you be Beating Blocks Dennis Palumbo Heart, Spine, Mind and Spirit approach. funny? LEVEL: ADV A new, empowering notion of creative blocks LEVEL: ALL as necessary growth steps on a writer’s jour- ✪ How to Write for the A-List Actor Christopher ney into deeper, more successful work. How Saturday, October 27, 2007, Keane to recognize, understand, and work through 5 PM-6:30 PM Having problems with your lead? So will an such blocks. LEVEL: PRO A-List Actor. Put the main character into 85% ✪ Mastering Your Own Comedic Style Nicole of your movie, at least. Attack all fear centers: Directing: Light & Metaphor Jim Pasternack Berger Heart. Head. Psyche. The character want to How to see light and how to find visual and Utilize the principles of comedic characters run and hide? Slam all doors. Seal them off. auditory metaphors for your films. (It is rec- and genres to sharpen your voice as a screen- The strength of your central character deter- ommended that screenwriters who want to di- writer. Understand and Make Use of: comedic mines everything, including if your movie rect attend all six of Jim’s classes, as Jim has characters such as the Clueless Clown vs. the gets made. Agents, managers and lawyers been known to spontaneously integrate ma- Mystified Nebbish; key differences between want scripts that will enhance their clients’ terial from one session into another.) LEVEL: various genres, such as Dark Comedy vs. Dra- PRO earning power and star status. Come by and mady; comedic throughlines in dialogue, I’ll show you how to Romance the A-List with tone, situations and theme that can save you your script. LEVEL: ADV Communicating Your Theme Linda Seger when you’re stuck. LEVEL: BEG How do you bring meaning to your story ✪ Create Gripping Action with Dilemma Jeff without becoming preachy? How do you help ✪ Shooting Action Sequences Gil Bettman Kitchen your audience connect with your story and The key to shooting a good action sequence is

✪ STAR SPEAKERS Based on last year’s attendee rankings. BEG Appropriate for attendees new to the field. ADV For writers who have finished at least one script. PRO For writers who have optioned at least one script. ALL Appropriate for everyone. SPECIAL EDITION | creativescreenwriting | 29 cs SESSIONS SCHEDULE SATURDAY, OCTOBER 27, 2007 knowing how to cover the action from multi- the-nose dialogue is actually acceptable. ✪ Creating Memorable Protagonists and An- ple camera set ups using the right lenses. This LEVEL: ADV tagonists Susan Kouguell course will teach the student this skill. LEVEL: ✪ How to make your heroes and villains empa- ADV Funny Bonz? Karen Jacobs thetic, despicable, lovable, scheming, manip- What’s so funny? Who laughs at what? ✪ ulative, and so much more. Hands-on advice Million-Dollar Screenwriting Career: Picture When? Why? Comedy, the hardest genre to and analyses of infamous film characters will the Deal Philippa Burgess write well, can deliver in the belly, over the be presented to help you create multi-dimen- Has someone offered to option your script? top or below the belt. Bad words and good sional and compelling characters, who will Does a producer want you to do a re-write? taste. How to network your characters jump off the page and into the hearts of film More often than not a writer gets an offer be- through emotional pain and joy. Ways writ- executives. LEVEL: BEG fore they get representation. This class will ing with a partner, improvising and perform- look at getting the right deal, negotiation and ing standup can produce more and bigger ✪ Becoming a Story Analyst Barney Miles Licht- deal issues with or without representation. We laughs. LEVEL: BEG enstein look at the impact on writers on films being ✪ A script considered by an agent, producer, or developed, packaged, and produced in differ- Creating Slam Dunk Script Ideas Steve Kaire studio is usually first covered by a story ana- ent financing and distribution models. We ad- Why are the studios churning out endless se- lyst, and becoming one can be an excellent dress where is the line between taking notes quels, remakes and movies based on old TV way into the industry. Participants will learn for free or for fee? We look at how far should series? It’s because they are bankrupt for new what a story analyst does and the basics of a writer go in terms of developing with a pro- ideas. High Concept projects start out with a coverage, while gaining insight into how ma- ducer; look at considerations for option agree- strong, original, compelling premise that has terial is evaluated. LEVEL: PRO ments; spec sale turnaround; and discuss how wide appeal. This seminar covers: The 5 Re- writer deals are structured along with Guild quirements for a High Concept Idea, Advan- ✪ Read to Write: Using Script Analysis to Be- protections and requirements. LEVEL: ADV tages of High Concept, Easiest Genres to Sell, come a Pro Writer Bill Lundy Examples of High Concept Films, Ten Brain- ✪ Reading and analyzing scripts is one of the best Seducing the Studio Reader Robert Flaxman storming Techniques and How to Reach Pro- ways to improve your own craft. Reading jobs Learn the multiple techniques that will keep ducers without Representation. Whether are also a great way to make contacts and get the reader in your created reality throughout you’re writing a screenplay, MOW, or creating your foot in the door. Learn basic script analy- your script. Study the most common mistakes a TV series, you’ll learn valuable information sis techniques and how to apply them to your made by professional and advanced screen- that will maximize your chances of selling. own work from a veteran script consultant writers. LEVEL: ADV LEVEL: ADV who’s also a produced screenwriter. LEVEL: ADV ✪ ✪ Writing for the Camera Heather Hale Creating & Developing Your Comedy Screen- ✪ Action & Suspense Scenes William C. Martell Learn the right way to direct on the page so play Steve Kaplan Become a master of suspense! Creating action that not only do you not piss off a director, Writing a spec script? Polishing up your ro- scenes that show character and suspense but that you engage him emotionally to want mantic-comedy screenplay? Steve Kaplan is scenes that keep the audience on the edge of to manifest your vision. Don’t lose your reader one of the industry’s most sought-after expert their seats! Proper use of violence. The 15 in camera directions, discover literary ways of when it comes to Comedy. Having taught at iconic suspense scenes and why they work. In- emulating the viewing experience on the UCLA, NYU and Yale and other top universi- structor has many *produced* action and page. Take your readers on a view of what’s in ties, Steve created the HBO Workspace and the thriller scripts. LEVEL: PRO your mind’s eye. LEVEL: BEG-ADV HBO New Writers Program. His famed class at- tracts people from around the country dedi- ✪ Structuring Scenes & Scene Sequences Linda Put Your Script on the Screen Nancy Hen- cated to learning and understanding the craft Seger drickson of comedy writing. LEVEL: ADV How does the three act structure apply to These days producers would rather watch a smaller segments of your script, such as scenes DVD than read a 110-page script. If you’re Selling Your Idea To Hollywood With Pitch and scene sequences? How can you use scene thinking of making your first film, this class King Robert Kosberg Bob Kosberg sequences to give movement and direction to will answer questions like: What equipment How to get in the room and stay there! The your script, and build excitement and drama? do I need? What is a shot list? Where do I get basics and intricacies of of all types of We’ll look at ways that some of the best writ- a crew? What do I say to the actors? LEVEL: pitches (in person, phone, written) will be ers and directors build their stories through ADV covered in an interactive forum. You will scene sequences, using examples from award learn how to find, develop, package, and winning films. LEVEL: PRO ✪ The Psychology of Subtext: The Meaning Be- protect your ideas with an emphasis on hind the Words Karl Iglesias how to stay involved with those ideas after IS YOUR STORY MYTHIC? Workshop your ideas Author Karl Iglesias takes an in-depth look at you’ve pitched them. Kosberg’s greatest gift and pitches Pamela Jaye Smith the most challenging area for screenwriters: to attendees is that they are encouraged to Put the power of myth into your stories — any how to avoid on-the-nose dialogue and create share and develop their ideas with him per- style or genre. Bring your works, and your dramatic interactions that have subtext—the sonally and to continue contact with him. questions. A brief lecture introduces you to meaning and emotions behind the spoken He will continue to welcome your ideas and Mythic Themes, Archetypes, Symbols, and words. This workshop presents ten proven consider them for submission to studios Imagery. Then I listen to your ideas and offer techniques and tricks of the trade for creating and major stars. This is a must-attend for suggestions to enrich your stories and enthrall subtext in your dialogue, with lots of script ex- writers, producers, or anyone with a great your audiences. LEVEL: ALL amples. Topics include why subtext is such a idea for the next high-concept Hollywood big deal, and the dramatic moments when on- blockbuster. LEVEL: Masterpiece Drama Day: The Departed Chris Soth

✪ STAR SPEAKERS Based on last year’s attendee rankings. BEG Appropriate for attendees new to the field. ADV For writers who have finished at least one script. PRO For writers who have optioned at least one script. ALL Appropriate for everyone. 30 | creativescreenwriting | SPECIAL EDITION SUNDAY, OCTOBER 28, 2007 SESSIONS SCHEDULE cs

Creating a Masterpiece is difficult, but they do Writing Great Film Narrative Glenn Benest vanced. LEVEL: BEG - ADV all have at least one thing in common: struc- One of the biggest mistakes screenwriters turE. See last year’s Best Picture Oscar Winner make is that they don’t take the time to write ✪ Screenwriting for Videogames Chris Klug analyzed and deconstructed into its individ- great narrative. The description of action and As more videogames strive to tell compelling ual sequences, using MillionDollarScreenwrit- setting is just as important as dialogue. This stories, job opportunities open up for tal- ing.com and Chris Soth’s trademarked workshop gives examples of great narrative ented, professional writers. While lessons Mini-Movie Method. See how master and provides tips on how to bring energy and learned in film, theater and television are filmmkaker Martin Scorsese uses reels to put style to your writing. LEVEL: PRO important, videogames have their own vo- together the chapters of his story and how the cabulary and structural challenges. Discus- whole is greater than the sum of the parts. How to Survive Coverage Michael Ray Brown sion centers around those similarities and LEVEL: BEG-ADV Before your script ever reaches the eyes of a differences as well as potential writing ca- studio executive, it usually goes through the reers in videogames. LEVEL: ADV How to Find the Right Producer to Shop your story department. Who are these gatekeepers, Story Taylor Van Arsdale and why do they wield so much hidden Comic Book Writing 101 Sean J. Jordan & How to present projects to producers and an- power? Learn what a story analyst does, what Matthew Hansen swer the following questions: What does a they look for in a screenplay, and how to So you’ve decided to adapt your screenplay producer do for your project? At what point avoid the pitfalls that would sink your script. into a comic book. But what do you need to do you need a producer? Who is the right pro- LEVEL: BEG do to make your script something a comic ducer for your project? How do you find a le- book artist can turn into a visual story? gitimate producer? Is your story television, Rewriting: Giving Your Script a Major Do-Over Dabel Brothers Production editors Sean J. cable or feature ready? What pitfalls should Stephen Buehler Jordan and Matthew Hansen work heavily the writer avoid when working with a pro- You’ve finished your script. Your friends in the field of adapting written work into ducer. How should the writer structure his have read it. It’s okay but not great. In this comic book scripts, and they want to use deal, and what should he expect and not ex- seminar, Stephen will go over the steps in this session to teach you the secrets of writ- pect a producer to do? LEVEL: ADV taking a firm look at your script to bring it ing an effective and compelling comic book up that next level; how to distance yourself script! LEVEL: BEG Subplots Cynthia Whitcomb from your first draft, how to break your Creating subplots that support your A-Story. script down into smaller workable part; dia- Temperament and Writing Bonnie MacBird Interweaving them into your central story logue, plot, main characters & minor ones What can the scientific study of personality line. Tracking and structuring your subplots and set-ups/payoffs. Learn the techniques theory do for a screenwriter? You might find to create solid, dynamic, commercial screen- that can make your current draft read like a lot you can use during this introduction to plays. LEVEL: PRO your final draft. LEVEL: ADV the Myers Briggs Temperament index, a highly effective and well-researched tool that Sunday, October 28, 2007, The Suspense is Killing Me! Writing Horror Ac- is used widely all over the world in business 9 AM-10:30 AM tion Sequences Sara Caldwell and education, and based on Carl Jung’s the- This seminar explains the importance of ac- ories of personality. The Myers’s Briggs Tem- The Craft Pilar Alessandra tion sequences and explores pacing, intro- perament index targets people’s preferences Is your script a great read? Is your story on the ducing and enhancing characters through in how they see, respond to, interpret, and page? It all comes down to the writing. Focus action, building suspense, and writing move through the world. Screenwriter, Emmy on writing style, tone and technique in this scenes with sex and violence. Tips are also winning producer, and former Universal fea- intensive seminar. We take a hard look at given on what to avoid when writing action. ture film development exec (and MBTI certi- word choice, scene direction, dialogue ap- LEVEL: ADV fied) Bonnie MacBird gives you a quick proach, and the nuances of the page. Writers overview of this work, which she uses in two may bring in a first page (bring 50 copies) for Screenwriting For Newbies: How To Write A distinct ways as a writer. First as a personal in- potential feedback. LEVEL: ADV Killer First Script Fran Harris sight which has helped her refine her process No need to be a bad screenwriter just be- and become more productive, and second, as Producing the Micro Budget Feature Film - Part cause you’re a new screenwriter! Learn the a character development tool. It’s particularly II David Bartlett fundamentals of scriptwriting that will ele- useful for developing and understanding char- By popular demand an advanced version of vate your screenplay from the slush pile to acters and motives very different from one’s the original seminar has been developed. the sensational pile. Plus, get access to own. LEVEL: PRO Concentrates on advanced aspects of film closely guarded tips on how to get an agent, made with very small budgets. The most manager or stars to read your script! LEVEL: Writing the Marketable Romantic Comedy Billy critical elements are covered in greater de- BEG Mernit tail with more attendee interaction encour- This information-packed seminar, utilizing aged. Key subjects covered are: writing your Secrets of a Hollywood Script Reader: How to script to fit the budget, SAG requirements, get past the Gatekeepers Daniel Klein camera types, shooting schedules, music li- Pass or Recommend - it’s the low person on To Attend the censing, electronic post and when to start the totem pole who holds your screenplay’s selling and marketing your film. Recom- fate in their hands. Learn what to do and Screenwriting Expo: mended for attendees who have related pro- what NOT to do to avoid a PASS from a Use the form on duction or post production experience, have cranky reader. Plus, earn top dollar as a well- made their own films or who attended last trained script reader while you’re waiting to the last page or go to year’s seminar. LEVEL: ADV sell your own script. Beginning through Ad- http://screenwritingexpo.com/regnow.html

✪ STAR SPEAKERS Based on last year’s attendee rankings. BEG Appropriate for attendees new to the field. ADV For writers who have finished at least one script. PRO For writers who have optioned at least one script. ALL Appropriate for everyone. SPECIAL EDITION | creativescreenwriting | 31 cs SESSIONS SCHEDULE SUNDAY, OCTOBER 28, 2007 film clips and a Hollywood insider’s pragmatic Just exactly how does a story or novel become punching up a provided comedy scrip. Bring experience, defines the essential components a script? What are the differences and similar- a script or a page that you want worked on. of a marketable romantic comedy. Learn how ities between the two? This lecture will cover First, we will cover joke writing, different ways to create compelling leads who have real all the basics from: eliminating omniscient to approach a joke, the difference between chemistry, how to tweak the formula, and Point-of-View, giving the story a POV charac- character jokes and joke-jokes etc. Then we how to develop genuinely passionate, funny ter, effectively translating action lines, present will roll up our sleeves and actually do some stories of substance that will speak to con- tense vs. past tense, conveying action, flash- punching. Be ready to participate. LEVEL: BEG temporary audiences. LEVEL: ADV backs and use of imagery, bald exposition vs. constructive reveal. We will examine and dis- Marketing Mayhem: Getting Your Script to Screenplay to Novel: Make More Money with Tra- cuss segments from several books and their Screen Sara Caldwell ditional Fiction! Skip Press screenplay/film counterparts. LEVEL: ADV This seminar covers statistics on horror films, Skip Press, author, screenwriter and writing relevant companies producing horror in re- teacher, will teach you how to reconfigure Sunday, October 28, 2007, cent years, successful independent horror, your screenplay into a novel you can sell. Top- 11 AM-12:30 marketing strategies, query letters that ics covered include: Finding Your Place in the do/don’t work for the genre, finding agency Store, Hearing Your Own Voice, Novel Struc- Script from Scratch Pilar Alessandra representation, and other marketing tips from ture vs. Screenplay Structure, and marketing. Come in with an idea and leave with a movie the trenches. LEVEL: ADV Quit letting your unsold script gather dust! story. We begin with a main character or a PRO LEVEL: ADV- seed of a premise and build from there to help Writing for the Family Market Carolyn Handler writers get their ideas out of their heads and Miller Writing British Films Susan Rogers on the page. In-class exercises force the writer Many of the greatest movies of all time were Britain produces films which win awards and to come up with plot points on the spot. written for the family market. And thanks to high box-office returns. However, relatively LEVEL: ADV the boom in animated films and new media, little is known about the day to day working this arena hotter than ever. But writers of fam- lives of screenwriters and how they came to Writing the Multiple Storyline Screenplay David ily projects beware: your work could be their craft. A look at who writes the films, and Bartlett doomed by one of its Seven Kisses of Death! how they get there based on her ground For experienced writers who want to go to the LEVEL: BEG breaking report ‘Writing British Films—Who master level. Breaks down the simple steps writes British films and how they are re- necessary to writing a screenplay with multi- My Best Friend Is Black, Female and/or Trans- cruited’ commissioned by the UK Film Coun- ple storylines and several main protagonists. gendered: Writing A Sellable Urban or Non- cil. LEVEL: BEG This gives you the tools to turn the process of Mainstream Screenplay Fran Harris multiple storyline writing from being com- Find out how to navigate the often chilly wa- How to Analyze Your Script Like A Pro Derek Ry- plex and potentially daunting to being com- ters of Hollywood even if you don’t write the dall prehendible and doable. Attendess should see ultra-commercial fare. Learn accelerated net- This class gives writers the tools to break their Crash, Magnolia, Boogie Nights, and Pulp Fic- working, scriptwriting and marketing tech- scripts down in a professional way, to get an tion before you come. Handout Included. niques that will distinguish you in the in-depth analysis of what’s working, what’s LEVEL: PRO marketplace and move you closer to a deal. not, and how to make it better. It enables LEVEL: ADV them to be their own best script consultants. Writing Visually Glenn Benest PRO LEVEL: ADV- A screenplay is a story told with pictures not Writing Romantic Comedies And Love Stories Michael Hauge ✪ dialogue. How do you convey visually what’s Deepening & Layering Your Characters Linda happening in a story or within your charac- Love stories heighten both the emotional ap- Seger ters? This workshop trains you to think visu- peal and the commercial potential of your What is a dimensional character? How do you ally and find pictures to express revelation of screenplay, and provide you with a powerful create characters that are not only unforget- character and plot. LEVEL: BEG tool for revealing inner conflict, character table, but deeply layered with subtext, with an growth, and theme. Using the most successful inner life as well as a fascinating external life? Capturing Your Audience with Jeopardy Michael romantic comedies and love stories of the last We’ll look at the elements of dimensionality, Ray Brown decade as examples, this seminar will reveal and how to research and think through char- A story can be defined as how a character the essential principles of writing believable, PRO acters to deepen and broad them. LEVEL: copes with danger. Whether it is a physical entertaining, and emotionally fulfilling ro- mantic relationships. LEVEL: BEG - ADV ✪ threat to our hero’s life or a more subtle threat Digital Age Storytelling Richard Michaels Ste- to our hero’s happiness, jeopardy is what fanik makes us want to know what happens next. How to Write and Sell Your First Screenplay in This class will discuss digital technologies that Learn techniques for building jeopardy that Two Weeks Kerry Knowlton enable a Writer-Director to reach a global au- will keep your audiences on the edges of their Through a series of unusual circumstances, I dience, including the Amazon.com/Book- seats. LEVEL: ADV happened to pitch an idea to a Hollywood surge.com publishing services, HDV cameras producer. He called a few days later and and editing software, YouTube.com, My- Punch-Up: Make Your TV & Feature Scripts Fun- wanted the script. Great... except I didnt have Space.com and IPTV BroadBandCasting serv- nier Stephen Buehler a script, had never written a script... in fact ices. LEVEL: BEG Want to know what it’s like to sit around a had never even seen an actual script. But I was able to create, format, and sell a script in less ✪ table and punch-up a sitcom or feature film How to Write a Screenplay Adaptation of Your to make it funnier? In this unique seminar, we than two weeks that actually got made into a Novel Taylor Van Arsdale will take a hands-on approach to actually movie. This seminar will teach you the entire

✪ STAR SPEAKERS Based on last year’s attendee rankings. BEG Appropriate for attendees new to the field. ADV For writers who have finished at least one script. PRO For writers who have optioned at least one script. ALL Appropriate for everyone. 32 | creativescreenwriting | SPECIAL EDITION SUNDAY, OCTOBER 28, 2007 SESSIONS SCHEDULE cs method. LEVEL: BEG Turner, Beefing up Your Core Concept, KISS: sleep. Taught by a tired parent of two. LEVEL: Keep it Simple Screenwriter, High Concept, BEG From Premise to Plot Bill Marsilii Low Budget & Thou Shalt Not Bore Thy Screenwriter Bill Marsilii (DEJA VU) discusses Reader. LEVEL: ADV The 12 Step Program to Debugging Your his approach to plot, from developing a Screenplay: Why It Won’t Sell movie-worthy premise, through the brain- Creating a Transformational Arc Linda Seger David Bartlett storming and outlining process, to a solid How do you develop characters that change Focuses on giving screenwriters workable tools screenplay structure. LEVEL: PRO and grow? How do you structure your story they can use to debug problems in their so the transformational arc is believable? We’ll screenplays. Details steps which find problem High Concept Hollywood William C. Martell look at scenes from the film As Good as It Gets areas that are not always easy to see. This is How to find and develop ideas that Holly- to see how this film is put together to create not a theoretical dissertation, but an actual wood is looking for and you are passionate an unsympathetic character who becomes program that can be followed to debug any about. A great script with a dull idea is a dull sympathetic. LEVEL: PRO screenplay that is not selling, or not finished. script. Learn tools like Magnification, Flip- Handout Included. LEVEL: PRO ping, Substitution, Cousins, Word Associa- Outrageous: The Making Of Outrage—Stories tion, why High Concept is *Your* Concept, From The Set Chris Soth ✪ Creating Compelling Plots: The Dynamics of finding your personal themes in high concept I made a movie this year—an independently Motive, Intentional and Objective Michael Ray ideas. LEVEL: ADV financed film, which I wrote for private in- Brown vestors and helped cast, shoot, and edit. I even Every story begins with a strongly motivated Adapting Your Screenplay into a Comic Book played a small role as a henchman and died a character. But where do you go from there? Sean J. Jordan & Matthew Hansen glorious death in the spinning propeller blade Even the most highly motivated hero will Comic books continue to be a hotbed of film of a private plane. Hear the whole story from bore an audience unless he has an objective. licensing in the 21st century, and with films start to finish, how I got the job, broke the Learn how to create situations that will drive like 300 and Spider-Man 3 packing people story, rewrote on the set—every detail, in- your story forward, deepen its emotional im- into theaters, it’s not hard to understand why. cluding footage from the first cut of the film pact, and satisfy your audience on many lev- Comic books can be great pitching tools since and the Making Of— documentary shot on els. LEVEL: ADV they offer a marriage of words and visuals in the set. LEVEL: BEG one attractive package, and they have a won- ✪ First 10 Pages: How to Make or Break Your derful ability to stir the imagination of those 5 Genres: Secrets of Comedy, Horror, Fantasy, Screenplay Stephen Buehler who have trouble visualizing a scene from de- Science Fiction, Masterpiece and Mixed Genre You’ve heard it plenty of times, I can tell if I’m scriptions alone. Learn how to adapt a screen- John Truby going to finish it after reading the first ten play into a comic book script with the advice Continuing Saturday’s class, genre expert pages. What needs to go into those first ten of the experts from Dabel Brothers Produc- John Truby reveals some key techniques, pages to grab the reader and keep her/him tions! LEVEL: BEG found in his new book, The Anatomy of Story, reading? With Stephen, you will explore the that will help you master the other 5 most structure, characterizations, plot points, set- Writing the Modern Classic: Great Movie Ele- popular genres in Hollywood. He also shows tings and tone of those first crucial pages. The ments from Great Novels Skip Press you how to combine your genres and tells you Do’s and Don’ts plus examples of scripts that Many classic novels that become movies have which genres are the best ones to combine. worked. LEVEL: ADV similar elements. Skip Press explains the first- Your success in pitching and writing a win- person narrator telling an intimate tale, a per- ning script depends on your ability to write ✪ Investor Financing of Independent Films John sonal story encompassing a larger social the genres that Hollywood buys. LEVEL: BEG- W. Cones change, why there are no stereotypical ele- ADV Los Angeles securities/entertainment attorney ments and everything counts, and how vari- John Cones provides an overview of film fi- ous literary devices used to tell these stories Overcoming Writer’s Block Taylor Van Arsdale nance; investor financing strategies; when can also work onscreen. LEVEL: ALL Sometimes, you just get stuck. There are two fund-raising activities involve the sale of a se- main components of writer’s block—procras- curity; when and whether to use a business The Protagonist Problem Robin Russin tination and fear. This lecture breaks down plan or a securities disclosure document; dif- What defines one character in your screenplay these elements while providing practical ferences in the contents of a business plan and rather than another as the protagonist? Do all methods to help the writer conquer and face private placement offering memorandum; protagonists require the same essential quali- his fears and exercises to enable him to move considerations re choice of investment vehi- ties, and if not, what are the differences? Why forward into the realm of professional writing. cles; whether to conduct a public or private do so many protagonists turn out to be so LEVEL: ADV offering and a look at rules associated with bland, and how do you turn yours instead each type of offering. LEVEL: PRO into your most compelling character? How do Sunday, October 28, 2007, different kinds of protagonists fit into differ- 3 PM-4:30 PM ✪ Writing for the Third Screen Carolyn Handler ent kinds of stories? LEVEL: ADV Miller Screenwriting for Tired Parents Thanks to new media, screenwriters are no Bullet-Proof Your Script Against Reader Rejec- Pilar Alessandra longer limited to movie and TV screens. We tion Derek Rydall No time or inspiration to write? Every kids now have a third screen to write for— Some of the areas that will be covered: Format book you read, every video you suffer videogames, the Web, and mobile devices— and Appearance, 1st Page and 10 Page Analy- through, every single moment spent with offering us fascinating new ways to tell stories. sis - and the Big Finish!, Creating a Mental your kid contains a great screenwriting lesson. Here’s the good news: being a computer geek Movie in the Reader’s Mind, Making it a Page- Brainstorm as you parent. Write when they is not a prerequisite! LEVEL: BEG

✪ STAR SPEAKERS Based on last year’s attendee rankings. BEG Appropriate for attendees new to the field. ADV For writers who have finished at least one script. PRO For writers who have optioned at least one script. ALL Appropriate for everyone. SPECIAL EDITION | creativescreenwriting | 33 cs SESSIONS SCHEDULE SUNDAY, OCTOBER 28, 2007

✪ Anatomy of a Screenplay—Little Miss Sun- vice from two guys who have both been writ- ✪ Bringing Your Spirituality Into Your Writing shine Michael Hauge ers and editors in the comic book industry, Linda Seger After a weekend filled with dozens of writers, and who can help you turn out better scripts There are many writers who are concerned teachers, and consultants revealing the prin- after you attend this brand new workshop! about how to bring their own sense of mean- ciples of successful screenwriting, this unique LEVEL: BEG ing into their work. Whether this involves re- workshop offers a detailed examination of one ✪ ligion, and/or spirituality, they’re concerned of the best Hollywood screenplays of the last The Use and Abuse of Mythology in Holly- about subject matter and spiritual approaches twenty years. Hauge will show how this wood Peter Mellencamp to their creative process. We’ll discuss both as- Oscar-winning screenplay provides a perfect Joseph Campbell’s mythological Hero’s Jour- pects of spirituality—the process and the sub- model for mastering plot structure, love sto- ney paradigm is often used as the basis for ject matter. LEVEL: PRO ries, dialogue, character development, and Hollywood blockbusters like Star Wars and deep, universal themes. LEVEL: BEG - ADV The Lion King. Learn how mythological sto- ✪ Plant and Playoff: Making Sense Chris Soth rytelling techniques can be applied in your Planting a skill, phrase or prop is one of the ✪ Collecting Overheard Dialogue Coleman own screenwriting, and how they are used most important skills a writer can have—es- Hough (and abused) in Hollywood. LEVEL: ADV pecially when coupled with the skill of pay- People say the darndest things—to each ing it off in a delightful, unexpected and other—to themselves—to you. Write them Writing Funny Love: Comedy Craft for the Con- surprising way. This raises watching a movie down in a notebook. Take them out of con- temporary Romantic Comedy Billy Mernit to a near-religious experience, but few screen- text. Put them in a scene. This seminar will The contemporary rom-com requires a fresh, writing instructors lecture on it—don’t miss explore eavesdropping techniques and other irreverent (and sometimes raunchy) comedic this one! With a special clip screening of the ways of hearing with Coleman Hough, the approach to the standard boy meets girl for- film that uses plant and pay-off better than writer of Bubble. LEVEL: ADV mula. This seminar, ultilizing film clips and a any other! LEVEL: ADV Hollywood insider’s pragmatic experience, de- ✪ How to Make a Hollywood Summer Block- fines time-honored principles of comedy and THE DEPARTED: Story Design for Creating an buster Movie on an Indie Budget Kerry Knowl- shows you how to tweak and update them to Oscar Winning Movie Richard Michaels Stefanik ton satisfy the sensibility of today’s audience. An analysis of the dramatic structures and Learn the steps needed to turn your dream LEVEL: ADV character development techniques found in script into a reality with very little money. You ✪ this 2006 Oscar Best Picture award winning will learn what genres sell, how to tailor your Breaking the Story Tim Minear film. Why this story deserved to win an Oscar! script to your budget, shoot and direct like a An interactive exercise in breaking a single LEVEL: BEG pro, take your cast to exotic locations via episode of an hour drama. We’ll decide by green screen. Add fog or torrential rain, blow consensus if it’s to be an episode of Angel, ✪ First Act Foibles and How to Fix Them Taylor things up, have spectacular car crashes, direct Firefly, or Wonderfalls. Using a white board Van Arsdale your own alien invasion, create and fight and the group mind, we’ll recreate what hap- Time and time again writers come to me with monsters all in the comfort of your home. pens in a writers’ room, with slightly less pro- weak first acts and wonder why their scripts Find out to make the film of your dreams no fane humor. We’ll conceptualize an original are getting passes from the studios. What are matter if it be a western or an interglactic episode, then board out teaser and four acts. the recurrent problems in almost every first space battle. LEVEL: BEG Emphasis on theme and structure. SEMINAR draft of every first act? What elements need WILL MEET FOR 4 HOURS. LEVEL: ADV to be incorporated into your first act to insure ✪ Description & Visual Storytelling William C. your reader will be sucked into your story and Martell Working with Two Strong Genres Susan Rogers want to continue reading till page 126? Top- Sure, your dialogue’s great, but description is A look at how skilled screenwriters combine ics will include set-up and pay-off, point of 50% of your screenplay and film is a visual genres to power their story. LEVEL: BEG view, writing style and technical glitches. Ex- medium. Is half your script in trouble? Tech- amples will be shown and discussed. LEVEL: nique-based class with 25 ways to improve de- Good Movies, Bad Movies, & What Makes the ADV scription, create hidden camera angles, tell Difference Robin Russin your story visually. Decisions, metaphors, Presents a close analysis of why some movies Sunday, October 28, 2007, symbolism, why pictures are worth a thou- work, while others—with comparable talent 5 PM-7 PM and story elements—simply don’t. Compar- sand words. LEVEL: ADV CS Open: You pick the winner! Scenes written ing successful and unsuccessful movies in sim- by the two or three finalists will be given live ✪ ilar genres from the point of view of Advanced Comic Book Writing Sean J. Jordan readings before your eyes. Then, the audience characterization, internal logic, subtext, and & Matthew Hansen votes. The Expo ends with a Closing Cere- imagery, we’ll see why and how movies like So, you know how to write a comic book mony. LEVEL: ALL script. But do you know the reasons that Chinatown, Shop Around the Corner, and the many comic book scripts fall apart once an original Planet of the Apes became classics, artist is introduced? Have you ever considered while others like Mulholland Falls, You’ve Got using tools like series treatments and scripting Mail, and Tim Burton’s Planet of the Apes fell outlines? Here’s your chance to get some ad- flat. LEVEL: ADV

✪ STAR SPEAKERS Based on last year’s attendee rankings. BEG Appropriate for attendees new to the field. ADV For writers who have finished at least one script. PRO For writers who have optioned at least one script. ALL Appropriate for everyone. 34 | creativescreenwriting | SPECIAL EDITION BY CREATIVE SCREENWRITING STAFF DIRECTING cs Film School For Screenwriters In One Day Or Two

ant to direct and/or produce your The Travis-Bettman Two-Day Deep Focus Master, Oct. 26, 11 am own film — or make a trailer or Film Seminar: Directing: Collaborating with an Editor, Wshort version of it to see how it MARK TRAVIS: Oct. 26, 3 pm plays (or just for the fun of it)? Here’s your Script Analysis and Breakdown for the Directing: Lenses, Moving Camera & Sub- chance. Two distinct sets of courses focusing Director, Oct. 26, 9 am jective Point Of View, Oct. 27, 9 am on directing for writers are being offered at Directing the Actor and creating Charac- Directing: Collaboration & Rehearsal, Oct. the 2007 Screenwriting Expo Oct. 25-28 at ters, Oct. 26, 11 am 27, 11 am the Los Angeles Airport Marriott and adja- The Rehearsal Process, Oct. 26, 3 pm Directing: Light & Metaphor, Oct. 27, 3 pm cent Renaissance Montura Hotels. Staging, The Director’s Most Powerful DIRECTING AND PRODUCING ON The Mark Travis-Gil Bettman two-day Tool, Oct. 26, 5 pm A BUDGET WITH DAVID BARTLETT: film course is an intense series of courses GIL BETTMAN: Producing the Micro-Budget Feature Film taught by two experienced directing, teach- Why, When, and How to Move the Cam- -Part I, Oct. 27, 11 am. Course focuses on ing, and movie consulting pros. Separately, era, Oct. 27, 9 am the producer, director and writer interested Writer-Director Jim Pasternack offers a How to Move the Camera: Part II, Oct. 27, in creating a feature length film for under series of six classes on directing. Then, you 11 am $650,000. can wind up your directing education with Lensmanship – How to Force Perspective, Producing the Micro-Budget Feature Film a Sunday session on low-budget moviemak- Oct. 27, 3 pm Part II, Oct. 28, 9 am. Advanced aspects of ing. We’re sorry, but due to scheduling com- Shooting Action Sequences, Oct. 27, 5 PM film made with very small budgets. plexities, some of these sessions overlap: Still other courses, given by Steven Barnes THE JIM PASTERNACK DIRECTING SERIES: MOVIEMAKING EXTRA — focus on moviemaking on a budget. Here’s Directing: Preparing the Dramatic Work- KERRY KNOWLTON: a summary of the courses available on direct- book Oct. 26, 9 am How to Make a Summer Blockbuster On ing and producing: Directing: Visualization & Staging the An Indie Budget, Oct. 28, 3 pm cs

WHAT’SWHAT’S A DREAM A DREAM SCHOOL SCHOOL FOR FOR SCREEN SCREEN WRITERS? WRITERS? SherwoodSherwood Oaks Oaks College College Where Where Writers Writers Can Can Make Make Vast Vast ContactsContacts and and Present Present Material Material Without Without Having Having an Agent an Agent It’s whereIt’s where Paul Paul Haggis, Haggis, James James Cameron, Cameron, and Sylvester and Sylvester Stallone Stallone all started all started

BEFORE EXPO TV Experience- Showrunners, Network Executives, Attend Emmys (Sept 14-18)

POST EXPO Panels of 10 to 12 guests per event per day, over 30 new contacts in 3 days! WRITING AND SELLING INDY FILMS, Monday October 29, only $75 NETWORKING with LITERARY AGENTS, Tuesday, October 30, only $75 PITCHING to LITERARY MANAGERS, Wednesday, October 31, only $75

Registration: $75 per class paid at “affiliated event” signup check box on the registration form in the Program Announcement plus an additional lunch fee of $30 paid via Sherwoodoakscollege.com

Location: Crowne Plaza Hotel, 1150 S. Beverly Drive, Beverly Hills, CA, 310-553-6561 Accomodations: Marriott Residence Hotel, 1177 S. Beverly Drive, Beverly Hills, CA, 310-228-4100 (across the street from Crowne Plaza), only $179 with Sherwood Oaks discount

Please check the website for more up-to-date information on Post-Expo Classes and other film courses

WWW. SHERWOODOAKSCOLLEGE.COM (323) 851-1769 [email protected]

SPECIAL EDITION | creativescreenwriting | 35 Teacher Spotlight

A script consultant, author and lecturer, Michael Hauge who works with film- makers and executives on their screenplays, film projects and development skills. He has coached writers or consulted on projects for Warner Bros., Para- mount, Disney, Columbia, New Line, Joel Silver Prods., CBS, Lifetime, Morgan Freeman, Jennifer Lopez, Val Kilmer, and Julia Roberts. He’s the author of the best-selling Writing Screenplays That Sell, now in its thirtieth printing, as well as the just-released book Selling Your Story in 60 Seconds: The Guaranteed Way to Get Your Screen- play or Novel Read. www.ScreenplayMastery.com. He’ll teach these courses at the 2007 Expo:

The Hero’s 2 Journeys: Mastering Story Structure and Character Arc Creating Powerful Movie Scenes Grabbing the Reader in the First 10 Pages Writing Romantic Comedies And Love Stories Anatomy of a Screenplay — Little Miss Sunshine D VDs of Michael Hauge’s seminars are available—see the order form on page 46

36 | creativescreenwriting | SPECIAL EDITION BY DANNY MUNSO TESTIMONIALS cs

Don’t Take Our Word For It... Read What Past Attendees Are Saying About the Screenwriting Expo

f you have never attended one of Cre- want to read what Maria Gigante wrote: brandt of Saint Peter, Minn., agrees: ative Screenwriting’s previous Screen- “I live in Chicago, where unfortunately, “The knowledge I gained, the experiences Iwriting Expos, then the best advertising there is not a big screenwriting communi- I had, the people I met and the inspiration we can give you comes from past attendees. ty. So when I arrived at the Expo, I was I received was far more valuable than what We asked whether prior registrants had blown away with how many energized and I paid for in airfare and hotel fees. For found the Expo worth their time. Here’s passionate screenwriters there could be in those who want to become serious screen- what they’re telling us: one place! The best word for the whole writers, the Expo is a great investment in experience is INSPIRING!” your career.” “If you believe that inspiration coupled with hard work, learning about the craft, Ian Vernon of Manchester, England: “What an invigorating experience,” writes and networking with others who believe in “I have attended the last three, and keep Michelle Dunphy. “To have so many the power of creative vision, the Screen- coming back for more…all the way from diverse people of all ages and from all walks writing Expo can give you a great return on the UK!” of life converge in one place was astonish- the investment. The scope and variety of ing. This was a place where you could feel the classes can whet the appetite of the “Where else can you attend quality class- empowered to emote and express yourself aspiring screenwriter and the seasoned pro- es by top credited screenwriters? Being a proudly with other writers and profession- fessional. The networking is unparalleled. writer from the Bay Area, you feel discon- als on various topics.” See the ‘who’s who’ in the film industry nected from the industry, without the tools and the ‘who’s gonna be who’ all in one to be competitive with the writers in LA, “I have attended CS Expo every single year place. It’s a can’t miss event.” —Donna and your dreams feel so far out of reach, and it has been directly responsible for me Roa, Rockville, MD and you get to point where you accept that landing my first assignment and a deal to writing may just remain a hobby. That all produce one of my specs. If you attend “...each time I come away a better writer changed at the Expo. It was so exhilarating only one screenwriting conference a and more excited to write than ever. Along to be around 4,000 other writers who share year… make it CS Expo — I could not rec- with providing professional and informa- the same passion as I do — the magic of ommend it more highly!” —Brendan tive seminars, the atmosphere surrounding movies.” —Kevin Lasit King, Syracuse, NY the Expo has such an excitement that it’s impossible not to come home and imme- “I had a blast at the Expo,” says Dionne “I thoroughly enjoyed the Expo. It was my diately put to work everything you learned. Anderson, Dublin, Ireland. “As a writer first exposure to the screenwriting com- I am happy to return to the Expo every year there is no other place you can go and receive munity because I live in Orlando, but it was and encourage any aspiring screenwriter to as much knowledge about your art than the well worth the cost. It’s easy to feel isolat- do the same.” —Amy Kolquist, Little- Expo.” Roberta Knopf adds that “The event ed when you’re on the East Coast and most ton, CO, who has made the Expo trek improves each year like a fine wine. It’s my screenwriters work on the West Coast, but four years running annual shot in the arm that helps me to keep the Expo made me feel that I was not alone. moving along with my writing career!” I met some great people and got a lot of “It’s a great place to meet like-minded indi- insight that helped me in my writing. I viduals and network with your peers. No It’s a way to advance your career, says have already started making plans to attend matter what point you are at in your career, another writer, George Giokas of New this year. I hope that I can renew friend- we’re all trying to figure out how to get to York City: “The Expo is a must for any- ships and meet even more people. I know “the next level.” There is truly no reason one who wants to break in to the business. that I will gain new information and revive not to attend this landmark event! See you I’ve been attending for years and I always my spirit and belief in my dreams.” there this year!” Erin Richey concurs that come away with strong leads for producers —Janet Witek Childs, Orlando, FL the Expo is truly inspirational: “The Expo who want to read my work.” filled me with motivation to excel. For the Here’s how Maggie Franks of San past year I have been applying what I “This dynamic, creative conference offered Clemente, CA sums it up: “Plan on drink- learned to my scripts and am entering two an embarrassment of riches to motivate ing lots of coffee, making new contacts, feel- screenplays into this year’s competition!” writers and help them achieve their goals,” ing humble yet energized and don’t be —Alex Melli, Laguna Beach, CA writes Margaret Zacharias of Des surprised if you have your own little epiphany Moines, Iowa. “This meeting offers a valu- while rushing from one seminar to the next. If you’re unsure whether it’s worth the trek able opportunity for all writers wanting to And make sure you white your teeth because to California from elsewhere, you may deepen their story skills.” Kurt Hilde- you’re going to be smiling…a lot!” cs

SPECIAL EDITION | creativescreenwriting | 37 Teacher Spotlight

Syd Field is regarded by many Hollywood profession- als to be the world’s leading authority in the art and craft of screenwriting. The Holly- wood Reporter has called him “the most sought-after screenwriting teacher in the world.” His books, Screen- play, The Screenwriter’s Work- book, and The Screenwriter’s Problem Solver are used in more than 395 colleges and universities and have been translated into19 languages. He has chaired the Academic Liaison Committee at The Writer’s Guild of America, West, is currently on faculty at the USC Master’s of Professional Writing Program, and has taught at Harvard, Stanford, UC Berkeley, UCLA, the AFI and other institutions. He has been a special script consult- ant to 20th Century Fox, the Disney Studios, Uni- versal and Tristar Pictures. He will teach each of these courses twice at the 2007 Screenwriting Expo, on Friday, Oct. 26 and Saturday, Oct. 27:

Okay, Fasten Your Seat Belts: Writing the Action Sequence Writing action sequences requires a strong sense of style and creativity as well as being able to utilize time, the surrounding elements and whatever’s necessary to make the sequence work. Action sequences don’t just happen; they need to be designed and executed with maxi- mum dramatic value. It is an art as well as a craft. In this session, we’ll break down and watch some of the greatest action sequences of the last few decades and explore those stylistic ele- ments that make great action sequences. Film clips from: Pirates of the Caribbean, Terminator 2, The Matrix, Bullitt, The French Connection will break down each sequence to illustrate the art and craft of writing a great action sequence.

Setting Up Character & Story This session explores the five ways a linear and non-linear film establish a strong and dynamic story line.

38 | creativescreenwriting | SPECIAL EDITION BY CREATIVE SCREENWRITING STAFF HORROR cs

A Monster ... A House ... A Sin ... How to Write A Great Horror Film Or Thriller

orror is hot,” says Screenwriting Us, Blake Snyder, Oct. 26, 2007, 3:00 PM Expo teacher and movie/TV screen- Elements of Horror, William C. Martell, Hwriter and author Steven Barnes. Oct. 27, 2007, 11:00 AM But there are special rules to writing a hor- Action & Suspense Scenes, William C. ror film or a thriller. The keys to these gen- Martell, Oct. 27, 2007, 5:00 PM res will be taught in this series of sessions at The Suspense is Killing Me! Writing Hor- the 2007 Screenwriting Expo: ror Action Sequences, Sara Caldwell, Oct. Writing the Thriller, Ken Dancyger, Oct. 28, 2007, 9:00 AM 25, 2007, 9:00 AM Marketing Mayhem: Getting Your Script The Future of Horror, Stephen Susco, to Screen, Sara Caldwell, Oct. 28, 2007, Oct. 25, 2007, 11:00 AM 11:00 AM The Secret Weapon of Great Comedy AND Thriller Scripts, Howard, Allen, Oct. Special bonus: Don’t Miss the Guest of 25, 2007, 5:00 PM Honor Session with Larry Karaszewski Twisted Worlds: Writing the Thriller, and Scott Alexander, who just crossed Brian Edgar, Oct. 26, 2007, 9:00 AM over into the horror genre with the critical- The Gorgon in the Mirror: The How & ly acclaimed box-office hit, Stephen King’s Why of Horror, Steven Barnes, Oct. 26, 1408, a movie that shows just how far the 2007, 11:00 AM landscape of a single horrible hotel room can Monster in the House: Stories That Scare be stretched by the imagination. cs

WRITING A GREAT MOVIE A new book by Jeff Kitchen Hollywood development execs consistently say that Jeff Kitchen teaches “the most advanced development tools in the film industry.” Learn how to use these powerful, practical tools, and then see Jeff Kitchen use them to create, develop, and structure an original script from scratch as you watch. A state-of-the-art course in the craft of the dramatist for writers of all levels. “…we’re in one of those ‘best of times, worst of times’ eras…when stores shelves are filled with a glut of screenwriting books…. Into the midst of all this clutter steps Jeff Kitchen, with his refreshingly retro book Writing a Great Movie: Key Tools for Successful Screenwriting. You can spend a fortune on the books, the classes, the consultations with the gurus, and the ghostwriters. But at the end of the day, I’d suggest you sift through the clutter and read Kitchen’s book—first, last, or only.” Catherine Clinch, Creative Screenwriting magazine

ORDER THE BOOK NOW at : www.DevelopmentHeaven.com JEFF KITCHEN’S CLASSES ON DVD Master the craft of the dramatist with six DVDs of Jeff Kitchen’s top-rated screenwriting classes. One of them is a 5-DVD set, Jeff’s Kitchen’s Full Day Seminar, with nine hours of teaching, including Jeff building an original screenplay using his tools. Single class DVDs include a course on Sequence, Proposition, Plot; Brainstorming with the 36 Dramatic Situations; Classic Structural Technique; Two Tools for Advanced Screenwriters; and an overview of all Jeff’s tools, called Jeff Kitchen’s Screenwriting Seminar. “Having taken virtually every screenwriting course in existence, I found Jeff Kitchen’s workshop to be the most valuable in town. His techniques and tools guide one through the entire process of screenwriting: from basic concept to general script structure and further down to the scene level. Jeff is a master teacher who truly understands the art and technique of the screenplay. His course is worth its weight in gold.” Chris Brancato, writer/producer of Hoodlum, North Shore, The X-Files ORDER THE DVDs NOW at : 1-800-727-6978 or 1-323-957-1405

SPECIAL EDITION | creativescreenwriting | 39 BY CREATIVE SCREENWRITING STAFF HUMOR cs You Think You’re So Funny...Well, You Can Be

ow badly do you need help writing a truly funny script? If Creating & Developing Your Comedy Screenplay comedy writing is your specialty, you can study it with Taught by: Steve Kaplan Hexperts from the very first session of the Screenwriting Day/time: Saturday, Oct. 27, 2007, 5 PM-6:30 PM Expo to the very last teaching session. We’ve scheduled sessions on writing comedy in every single time slot of the 2007 Expo. Writing the Marketable Romantic Comedy Here are the comedy courses, listed in order: Taught by: Billy Mernit Day/time: Sunday, Oct. 28, 2007, 9 AM-10:30 AM Writing the Romantic Comedy Taught by: Ken Dancyger 5 Genres: Secrets of Comedy (& 4 others) Day/time: Thursday, Oct. 25, 2007, 9 AM-10:30 AM Taught by: John Truby Day/time: Sunday, Oct. 28, 2007, 11 AM-12:30 PM Putting Comedy into Your Scripts Taught by: Ellen Sandler Comedy Craft for the Contemporary Romantic Comedy Day/time: Thursday, Oct. 25, 2007, 11 AM-12:30 PM Taught by: Billy Mernit Day/time: Sunday, Oct. 28, 2007, 3 PM-4:30 PM Writing the Romantic Comedy Taught by: Cynthia Whitcomb Note: dates and times of these and all other teaching sessions Day/time: Thursday, Oct. 25, 2007, 3 PM-4:30 PM are subject to change. Sessions can be canceled for reasons outside our control. Consult the on-site program for final sessions, dates, The Secret Weapon of Great and times. cs Comedy and Thriller Scripts Taught by: Howard Allen Day/time: Thursday, Oct. 25, 2007, 5 PM-6:30 PM

The Dark Side of Lightness—Dramatic Conflict Taught by: Pamela Jaye Smith Day/time: Friday, Oct. 26, 2007, 9 AM-10:30 AM

Build a Better Joke Taught by: Evan Smith Day/time: Friday, Oct. 26, 2007, 11 AM-12:30 PM

Analysis of 5 Great Comedy Scenes Taught by: Hal Ackerman Day/time: Friday, Oct. 26, 2007, 3 PM-4:30 PM

Writing Romantic Comedy Dialogue Taught by: Wendall Thomas Day/time: Friday, Oct. 26, 2007, 5 PM-6:30 PM

Using Improv Techniques for Comedy Writing Taught by: Wendy Cutler & Devorah Cutler-Rubenstein Day/time: Saturday, Oct. 27, 2007, 9 AM-10:30 AM

How to Make Executives Laugh! Taught by: Susan Kouguell Day/time: Saturday, Oct. 27, 2007, 11 AM-12:30 PM

Steve Kaplan’s Comedy Intensive: The Hidden Tools Taught by: Steve Kaplan Day/time: Saturday, Oct. 27, 2007, 3 PM-4:30 PM Scrubs

40 | creativescreenwriting | SPECIAL EDITION BY CREATIVE SCREENWRITING STAFF EXPO PRIZES cs

$5,000 CS Open Prize; $150,000 In Scriptwriting Competition Prizes Screenwriting Expo Closing Ceremony: Performances and Cash

f you’ve submitted a script or tried your The contest can also help with that hand at the CS Open, you may just chicken-egg conundrum of finding repre- A must for any aspiring or serious Iwant to stay to the very end of the 2007 sentation. Writers say they can’t sell their Screenwriting Expo. work until they are repped, but that reps screenwriter. I will be back every year. The closing ceremony is when the CS won’t take them on until they have sold — Bill Melidoneas, Brooklyn, NY Open scenes are peformed live, and the something. The Expo Competition has audience then decides, who gets the $5,000 hatched an answer: Manager Andrew winner-take-all prize. Kersey who, set up a million-dollar pitch I had the time of my life at Expo 5. But that’s just the start. The biggest haul last year, will pick a writer to represent. The Everything was very well planned — of prizes of any U.S. scriptwriting contest – Expo Competition will then cross its the facilities were excellent, the speak- $150,000 in cash, software, services, and proverbial and anthropomorphized fingers ers were engaging and entertaining as schooling – comes next when the winners that he can help the writers find the gold- of the Screenwriting Expo Scriptwriting en egg. well as informative, and the network- Competition are announced. The Expo Competition does more to ing opportunities were invaluable. I Top prize is a $20,000 check. That, of help jumpstart the careers of the winners made a lot of new friends as well as course, could be only the beginning for the by getting their work published and pro- valuable professional contacts. The winner or others who place well in the duced. The competition’s unprecedented competition. Some lucky producer in the alliance with comic book studio Dabel entire Expo was not only informative audience might just seize his or her chance Brothers Pro will bring adapt one writer’s and valuable but just doggone fun! and buy a winning script. vision into a graphic novel. Also, a winner — Mimi Mathies, Las Vegas, NV But back to the $20,000. Expo Scriptwrit- in the shorts contest will get to make their ing Competition Coordinator Jim Mercu- movie in the land of enchantment, Albu- rio has promised that the contest will never querque New Mexico, courtesy of the Duke Been pitching my writing for twenty award one of those tacky, over-sized checks. City Shootout Prize. years; literary prose on the East Coast It isn’t about posing for the cameras. The The Expo is a chance for writers to get and screenplays on the West Coast. This Grand Prize, as Mercurio puts it, “is our way out of their heads and away from the lap- Expo is about as professional as any of validating talented writers and encour- top screen and join nearly 4,000 kindred aging them to further pursue their passion spirits in what Esquire Magazine has called writer can hope to enjoy. Come pre- and craft.” However, the fact of the mat- “a carnival for screenwriters.” And the pared to meet interested men and ter is that one lucky—scratch that, talent- Expo Screenplay Competition is the com- woman who honestly do want to either ed writer—is going to walk away with 20 petition in which the prizes are awarded help you or hear what you have to say. grand in his or her pocket. That’s a lot of live in front of as many as 1000 cheering double expressos, brass brads and therapy. writers. That will be on Oct. 28 this year, —Mary Ellen Gavin, “Even if you lose, you win,” Mercurio at the Los Angeles Airport Marriott (other Rancho Cucamonga, CA said. Five more contest scripts will win Expo sessions are also held at the adjacent their writers $2,500 cash prizes for features. Renaissance Montura). For the writers who I attended Expo 5 last October. I was There are other cash prizes for television have entered the contest, contest coordi- enrolled in my first screenwriting class and shorts. The contest offers more than nator Mercurio has one last piece of advice: $20,000 in prizes for the semifinalists, “Have confidence. Start writing your at the time and went to see what you including script consultations from Julie acceptance speech.” cs had to offer. I was pleasantly surprised Gray’s The Script Whisperer and John with the top talent you had as guest Truby’s Blockbuster Software. And speakers. I was encouraged to con- some of the competition’s prizes are the coolest awards on the planet – and they To Attend the tinue with my craft after I entered the don’t even involve cash. Screenwriting Expo: 2006 CS Open contest and went on to Two writers, one on each coast, will win the next round. Thank you for the Use the form on Writers Boot Camp Professional great event. Memberships, in which they will receive the last page or go to career guidance and development help to — Jeannie Ace, complete 3-5 polished samples. The retail http://screenwritingexpo.com/regnow.html Westlake Village, CA value on this two-year program is $8,500.

SPECIAL EDITION | creativescreenwriting | 41 BY DANNY MUNSO TELEVISION cs

Tackling the Small Screen How to Write For Television

ome of the best writing going on in From Idea to Animated Series Hollywood right now does not Taught by: Jean Ann Wright Sappear in theaters, but rather in your Oct. 27, 2007, 9:00 AM own living room. TV writing has never been hotter, and now is the perfect time Punch-Up: Make Your TV & Feature to brush up on your small-screen skills. Scripts Funnier The secrets to writing that great television Taught by: Stephen Buehler spec will be covered in this series of sem- Oct. 28, 2007, 11:00 AM inars at the 2007 Screenwriting Expo: Special bonus: We have two of the most Secrets of Animated Movies and TV lauded television writer/producer/directors Shows attending the 2007 Screenwriting Expo™ Taught by: Ken Rotcop as Guests of Honor. CSI’s Danny Can- Oct. 25, 2007, 9:00 AM non and Scrubs’ Bill Lawrence will be talk- ing about their decades of experience in The TV Freelancer: Pitching For TV television, both as writers and as showrun- Taught by: Brian Herskowitz ners. Don’t miss this rare opportunity to Oct. 25, 2007, 11:00 AM hear from some of television’s best. cs

Writing the TV Drama Series Taught by: Pam Douglas Oct. 25, 2007, 3:00 PM

TV Power Pitch Workshop Taught by: Mark and Jeanne Simon Oct. 25, 2007, 3:00 PM

How to Rewrite Your Sitcom Taught by: Scott Rubenstein Oct. 25, 2007, 5:00 PM

Pitching at TV Conference Seminars Taught by: Mark and Jeanne Simon Oct. 25, 2007, 5:00 PM CSI Turning Your Screenplay Into a TV Pilot Taught by: Ellen Sandler Oct. 26, 2007, 11:00 AM

TV Story Structure Taught by: Ellen Sandler Oct. 26, 2007, 3:00 PM

Navigating TV Taught by: Philippa Burgess Oct. 26, 2007, 5:00 PM

Adapting Material for TV and Film Taught by: Brad Schreiber Oct. 26, 2007, 5:00 PM Scrubs

42 | creativescreenwriting | SPECIAL EDITION BY DANNY MUNSO COURSES FOR NEW WRITERS cs

No Experience Necessary Screenwriting For Beginners

f you have never opened up a screenwrit- Choosing a Marketable Premise, Making Time & Space to Write ing program or picked up a pen to write, Taught by: Ron Suppa Taught by: Karen Jacobs Ithe Expo has you covered with a series of Oct. 25, 2007, 5:00 PM Oct. 26, 2007, 5:00 PM courses specifically aimed at the uninitiated Screenwriter’s Guide Screenwriting — How Do I Start? writer. If you’ve thought about a career in to Making Money Taught by: David Bartlett screenwriting, or just wanted to try it as a Taught by: David Freedman Oct. 27, 2007, 9:00 AM hobby, take a look at the courses below, and Oct. 26, 2007, 9:00 AM you’ll be turning in that first draft in no time. The Insider’s Guide Second Act Struggles to Film Financing Structural Magic Taught by: Matthew Terry Taught by: Devorah Cutler-Rubenstein Taught by: Steven Barnes Oct. 26, 2007, 9:00 AM Oct. 27, 2007, 11:00 AM Oct. 25, 2007, 9:00 AM Hooking the Audience and Explor- Screenwriting For Newbies: How to Formatting and Spec Writing For ing the First Act Write A Killer First Script Fun and Profit Taught by: Matthew Terry Taught by: Fran Haris Taught by: Dave Trottier Oct. 26, 2007, 11:00 AM Oct. 28, 2007, 9:00AM Oct. 25, 2007, 9:00 AM 3-Act Screenplay Structure Writing Exercises For Writing Visually Taught by: Nancy Hendrickson the Fit Screenwriter Taught by: Glenn Benest, Oct. 26, 2007, 5:00 PM Taught by: Hal Ackerman Oct. 28, 2007, 11:00 AM Oct. 25, 2007, 5:00 PM

Learn From the Designer Chris Huntley’s Software Training Seminars

hris Huntley is the Academy Technical Movie Magic Screenwriter Dramatica Archetypes and Achievement Award-winning co-creator Training 1 Complex Characters: How Cof Write Brothers, Inc. and the Movie Oct. 25, 2007, 9:00 AM to Make Them Magic series of products, Oct. 28, 2007, 9:00 AM Movie Magic Screenwriter which includes their Training 2 Dramatica Plot: More than Just screenwriting software Oct. 25, 2007, 11:00 AM Beginning, Middle, and End Movie Magic Screen- Oct. 28, 2007, 11:00 AM writer, their outlining StoryView Training program Story View, Oct. 25, 2007, 3:00 PM and the storytelling Dramatica Story Basics: tools of Dramatica. The Big Stuff To Attend the Chris is offering direct Oct. 26, 2007, 9:00 AM access to his knowledge Screenwriting Expo: and mastery of these Dramatica Story Dynamics: Use the form on products only at Expo 6. But, these are more than Key Questions about tutorials – he will teach you how to use the prod- Character and Plot the last page or go to ucts to enhance your script and get you to tell a Oct. 26, 2007, 11:00 AM http://screenwritingexpo.com/regnow.html better story.

SPECIAL EDITION | creativescreenwriting | 43 cs SPECIAL WORKSHOP BY CREATIVE SCREENWRITING STAFF

KILLER SCREENWRITING A Week-Long Interactive Workshop with Jim Mercurio (and Guests) October 29 – November 2 Limited to Only 15 Students!

upersize your writing today! Jim Mercurio’s mile-a- minute approach jams a semester’s worth of craft into Sjust a week. As a filmmaker himself, Jim’s standards for your material are high. Jim wants your material to be good enough to get an A-list actor excited to come out of his trail- er to do your scene. Jim’s attention to detail will make your jokes funnier, your dialogue sharper, your conflict more spe- cific, your theme more coherent, and your script an overall better read. This is a rare chance for intensive personal inter- action and instruction to accelerate your growth as a writer.

SCHEDULE: Monday, 1PM-6PM Tuesday-Friday, 9AM-6PM Optional activities and guest speakers Tuesday-Thursday nights.

CRAFT TOPICS: Concept, Structure, Dialogue, Genre, Scene Writing, Shurtleff’s Guideposts, Action Description, Prose At least one student’s scene will be directed, shot and Style, Character Orchestration, Dilemma, edited! All students will have their pages used as part of Character Arc, Theme, and Killer Endings. the text of the class and will have scenes workshopped with live actors. CAREER TOPICS: How to Get an Agent, Creative Professionalism, Jim produced the feature film Hard Scrambled and wrote Managing Your Own Career, Succeeding Without and directed the hour of filmmaking tutorials, Making Hard Representation, Pitching. Scrambled Movies. Creative Screenwriting ranked him as one of the top screenplay consultants in the country and he LOCATION: directed the original 41 DVDS in the Expo DVD series. He TBD—In or Near Renaissance Hotel was a Star Speaker at Expo 2 – Expo 5.

5 DAYS FOR ONLY $999

Keep checking SCREENWRITINGEXPO.COM for updates and information

44 | creativescreenwriting | SPECIAL EDITION LODGING AND TRAVEL 2007 SCREENWRITING EXPO™ WILL BE HELD AT TWO LUXURY HOTELS NEAR THE LOS ANGELES AIRPORT (LAX) – THE MARRIOTT LAX AND THE RENAISSANCE MONTURA LAX. WE HAVE NEGOTIATED DISCOUNT RATES AT THESE HOTELS TO MAXIMIZE YOUR CONVENIENCE. WE SUGGEST, IF POSSIBLE, THAT YOU STAY IN ONE OF THESE TWO HOTELS. DAYS AT THE EXPO CAN RUN FROM 8 AM TO 8 PM AND BEYOND. YOU WILL REALLY ENJOY THE CONVENIENCE OF EASY ACCESS TO YOUR HOTEL ROOM.

1 LOS ANGELES AIRPORT MARRIOTT Experience the impact of Marriott Hotel’s $20 mil- 5855 W Century Blvd. lion transformation! A complete guest room trans- Los Angeles, CA 90045 formation includes the arrival of the plush, Marriott 310-641-5700 / 800-228-9290 REVIVE Bedding! The newly renovated Champions www.laxmarriott.com Sports Bar offers over 50 flat panel TVs! And Resort Pool upgrades have created a stunning outdoor arena for both social events as well as a relaxing day in the sun! Uniquely accessible to experience LA, the Los An- geles Airport Marriott offers a perfect combination of great spaces and experienced, empowered Marriott associates who are dedicated to exceed guest’s expec- tations and assist them in achieving their goals.

The Renaissance Montura Hotel has just completed 2 a $10 million guestroom renovation. Treat yourself to “A Hotel Less Ordinary,” the Renaissance Montura Hotel has redefined the choice of hotels near LAX with its unique character and commitment to luxury. Hotel offers a wealth of modern amenities including an all-new fitness center, an internationally acclaimed art collection and distinctive architecture. 499 guest rooms and suites make even the 1 simplest pleasures feel extraordinary, while 98 club rooms tantalize the senses with plush terry-cloth bathrobes, con- 2 tinental breakfast buffet, and evening hors d’oeuvres. RENAISSANCE MONTURA HOTEL 9620 Airport Boulevard Los Angeles, CA 90045 310-337-2800 / 888-293-0523 www.renaissancelosangeles.com

FOR MORE TRAVEL INFORMATION, INCLUDING DRIVING DIRECTIONS, AND SHUTTLE INFORMATION, PLEASE GO TO WWW.SCREENWRITINGEXPO.COM

For more information and updates visit http://screenwritingexpo.com/info.html DVD ORDER FORM CAN’T ATTEND EXPO 6? Want to learn from A-list guests of honor and panel discussions while attending other seminars? Order Expo DVDs today. Seminars, guests of honor, and panel discussions are now available. Any 1 DVD: $19.95 Any 10 DVDs: $169.95 c DVD001 Richard Krevolin ...... Screenwriting From the Soul Any 5 DVDs: $89.95 All 50 DVDs: $749.95 c DVD002 Richard Krevolin ...... How to Adapt Anything into a Screenplay c DVD003 Richard Krevolin ...... Prof. K’s Master Class Scene Workshop All non-pre-order DVDs will be shipped within 4 c DVD004 Michael Hauge ...... Writing Romantic Comedies and Love Stories c DVD005 Michael Hauge ...... Creating Powerful Movie Scenes weeks of purchase. c DVD006 Michael Hauge ...... Mastering the 2-Minute Pitch c DVD007 Michael Hauge ...... Grabbing the Reader in the First 10 Pages Pre-order Guest of Honor sets will ship 12 weeks c DVD008 Pilar Alessandra ...... Minute Pitch c DVD009 Karl Iglesias ...... M astering the Essential Habits of Highly Successful after Screenwriting Expo 5. Screenwriters c DVD010 K arl Iglesias ...... W riting for Emotional Impact: Maximizing the Reader’s Emotional Response c DVD011 Karl Iglesias ...... Testing Your Concept at the Emotional Level c DVD012 Karl Iglesias ...... Crafting Complex Characters for Emotional Impac t SPECIAL DEALS! c DVD013 Karl Iglesias ...... Crafting Compelling Stories for Emotional Impact c DVD014 Karl Iglesias ...... Crafting Fascinating Scenes for Emotional Impact c DVD015 Karl Iglesias ...... Crafting Vivid Description for Emotional Impact c DVD016 Karl Iglesias ...... Crafting Fresh Dialogue for Emotional Impact PERSONAL INFORMATION c DVD017 Karl Iglesias ...... T he Psychology of Subtext: The Meaning Behind the Word s c DVD018 Karl Iglesias ...... P itching to Sell: Engaging the Listener Emotionall y NAME: ______c DVD019 Robert Tobin ...... T he Seven Essential Elements of a Successful Screenpla y c DVD020 Michael Halperin ...... Writing Great Characters ADDRESS: ______c DVD021 Jeff Kitchen ...... Brainstorming with the 36 Dramatic Situations c DVD022 Jeff Kitchen ...... J eff Kitchen’s Class on Sequence, Proposition, Plo t c DVD023 Jeff Kitchen ...... J eff Kitchen’s Two Tools for Advanced Screenwriter s ______c DVD024 Jeff Kitchen ...... Jeff Kitchen’s Screenwriting Seminar c DVD025 Jeff Kitchen ...... J eff Kitchen’s Class on Classic Structural Techniqu e CITY______c DVD026 Michael Ray Brown ...... A Structure Checklist: How to Plug the Holes in Your Scrip t c DVD027 Jim Mercurio ...... Killer Endings STATE: ______ZIP: ______c DVD028 Jim Mercurio ...... The “T” Word—Theme c DVD029 K en Rotcop ...... P erfect Pitch: How to Sell Yourself and Your Movie Idea to PHONE:______Hollywood—The Lecture c DVD030 K en Rotcop ...... P erfect Pitch: How to Sell Yourself and Your Movie Idea to Hollywood—The Workshop E-MAIL: ______c DVD031 David Freedman ...... Screenwriter’s Guide to Making Money c DVD032 S cott Rubenstein ...... H ow to Write Your Script and Deduct the Expenses Off Your Tax Return c DVD033 Paul Gulino ...... S equences: The Hidden Structure of Successful Screenplay s PAYMENT INFORMATION c DVD034 Robert Flaxman ...... Seducing the Studio Reader c DVD035 Michael Lent ...... Quantum Career Mechanics ❑ Mastercard ❑ Visa ❑ American Express ❑ Discover c DVD036 Julie Marsh Nelson ...... The Horror Genre c DVD037 Devorah Cutler-Rubenstein ..The Insider’s Guide to Film Financing ❑ Check / Money Order enclosed c DVD038 Richard Walter ...... A ttitude vs. Gratitude: Strategies for Securing an Agen t c DVD039 Richard Walter ...... Screenwriting: The Whole Picture Please make checks or money orders payable to: Creative Screenwriting c DVD040 Richard Walter ...... Reader’s Backflip We can only accept checks drawn on US banks. c DVD041 Victoria Wisdom ...... How to Find the Right Buyer for Your Project c DVD042 Joss Whedon ...... The Master at Play ($14.95) CARD #: ______c DVD043 Jeff Dowd ...... The Dude’s Dos and Dont’s c DVD044 Heather Hale ...... Navigating Hollywood c DVD045 Brian Herskowitz ...... Crafting the Outline for Your Feature Film EXPIRATION DATE: ______c DVD046 Tim Minear ...... Breaking the Story c DVD047 Ron Suppa ...... What to Do After It’s Written NAME ON CARD: ______c DVD048 Rob Tobin ...... Credible Dialogue c DVD049 Linda Voorhees ...... Rewriting CARDHOLDER SIGNATURE: ______c DVD050 Marc & Elaine Zicree ...... Selling A TV Series

TOTAL FOR DVDs ORDERED ( _____ @ $19.95/each*)4______*SEE ABOVE RIGHT FOR QUANTITY DISCOUNTS TO COMPLETE YOUR ORDER c SET01 Karl Iglesias’s Writing for Emotional Impact Master Class ...... 9 DVDs/$169.95 If you are attending the Expo, fill in this order form and at- c SET02 Jeff Kitchen’s Full-Day Seminar ...... 5 DVDs/$99.95 c SET03 R ichard Walter’s Beyond the Basics ...... 4 DVDs/$79.95 tach it to your registration form. Otherwise, mail it with your c SET04 E xpo 4 Guests of Honor ...... 4 DVDs/$99.95 check, money order, or credit card information to: CREATIVE

TOTAL FOR DVD SETS4______SCREENWRITING, 6404 HOLLYWOOD BLVD., STE 415, LOS SALES TAX (8.5% for California residents ONLY)4______ANGELES, CA 90028. If paying by credit card you can also U.S. SHIPPING ($2/DVD, $5/SET, $4 minimum)4______order by faxing the completed form to 323.957.1406 or by INTERNATIONAL SHIPPING ($4/DVD, $10/SET, $8 minimum)4______calling 323.957.1405 or 1.800.727.6978. DVD orders can also 4 TOTAL PAYMENT ______be placed online at www.ExpoDVDs.com. REGISTRATION FORM

The Expo suggests that you register online at http://screenwritingexpo.com/info.html GOLD PASS ($299.95) Every event and session included Includes priority registration for all events, including all seminars, luncheons, and networking parties. DON’T WAIT — Gold Passes are limited and registrations go up $50 after September 14th, 2007. BASIC 4-DAY PASS ($74.95 + $5 each for seminars) You must purchase additional tickets for all seminars, parties, and the CS Open. Add $50 for registration after 9/14/07. Networking Parties Oct. 24 Pre-Expo Party...... $15x ______tickets =______Oct. 25 Opening Night Party...... $15x ______tickets =______Oct. 26 Screenwriting Networking Party #1...... $15x ______tickets =______Oct. 27 Screenwriting Networking Party #2...... $15x ______tickets =______SEMINAR TICKETS Please attach list of course names______(______@ $5/each) =______CS OPEN REGISTRATION ______($8 for participants) = $12 Off to Expo Registrants On A Subscription to Creative Screenwriting Magazine $11.97 to U.S. addresses, $19.95 Canada or Mexico, $30.95 International = ______Jim Mercurio’s Killer Screenwriting 5-Day Interactive Workshop ...... $999.00 = ______Sherwood Oaks College Post-Expo Courses (see page 35) Writing and Selling Indy Film...... $75 = ______Networking With Literary Agents...... $75 = ______{}Pitching To Literary Managers ...... $75 = ______REGISTRATION FEE - GOLD PASS...... $299.95 = ______REGISTRATION FEE - REGULAR ...... $74.95 = ______$50 LATE REGISTRATION FEE (After 9/14/07) ...... $50.00 = ______TOTAL $ ______

PERSONAL INFORMATION PAYMENT INFORMATION ❑ ❑ ❑ ❑ NAME: ______Mastercard Visa American Express Discover ❑ Check / Money Order enclosed ADDRESS: ______Please make checks or money orders payable to: Creative Screenwriting ______We can only accept checks drawn on US banks.

CITY______CARD #: ______

STATE: ______ZIP: ______EXPIRATION DATE: ______

PHONE:______NAME ON CARD: ______

E-MAIL: ______CARDHOLDER SIGNATURE: ______Your Email address is REQUIRED to notify you when classes and pitch sessions are posted. TO COMPLETE YOUR REGISTRATION Register online at http://screenwritingexpo.com/info.html or send this form with credit card payment or a check/money order payable to: Creative Screenwriting, 6404 Hollywood Blvd., Suite 415, Los Angeles CA 90028.

For more information and updates visit http://screenwritingexpo.com/info.html Creative Screenwriting Magazine Presents The 2007 Screenwriting Expo Oct 25-28, 2007

To Attend the Screenwriting Expo Use the form on the last page or go to http://screenwritingexpo.com/regnow.html

Creative Screenwriting 6404 Hollywood Blvd. Suite 415, Los Angeles CA 90028