Dominic Morgan – The Scriptfella Program

Radically Improve Your Writing In 28 Days.

Learn to Write For The Hollywood Reader

• Learn how to use language to bewitch industry readers and keep them reading.
• Discover your voice as a writer and use it to get noticed by managers and agents.
• Learn how to cure the biggest disease of amateur screenwriting: overwriting.
• Do away with dull description. Excite the reader with cinematic language, sound design, and imagery.
• Access intensive screenwriting tutorials that will help you improve the marketability and readability of all your scripts – past, present and future.
• Develop the critical skills to distinguish what you should put in the script and what you should leave out.

What You’ll Learn In The Scriptfella Program

Ground Zero – Week One

• Why You Need To Hijack The Hollywood Reader’s Brain
• Cinematic Vs Instruction Manual Writing

Cinematic Screenwriting – Week One

• The Five Visual Elements – A Belt & Braces Primer
• How To Write For The Camera
• How To Write A Cinematic Sequence Free Preview
• Assignment 1: The Shot Game
• How To Create Moving Camera Shots On The Page
• Assignment 2: Page 1 Image Bombs
• How To Use Costume & Props In Your Script
• Acting On The Page
• Optimize Your Locations
• 9 Ways To Light Up Your Screenplay
• 9 Ways To Light Up Your Screen Play – Case Study, 1917 (wilson-Cairns)
• 9 Ways To Light Up Your Screenplay – Part Three
• 9 Ways To Light Up Your Screen Play – How To Use Colour Psychology On The Page
• The Sixth Element – Sound Design
• Reader Psychology
• Assignment 3: Write Like Renato

Narrative Voice – Week Two

• Narrative Voice – The Lowdown
• Narrative Voice – The Princess Bride (goldman)
• Narrative Voice – Promising Young Woman (fennell)
• Narrative Voice – The Brigands Of Rattleborge (zahler)
• Narrative Voice – The Good Wife (king & King)
• Narrative Voice – A Cautionary Tale (morgan)
• Narrative Voice – Is Alien Really A Good Read?
• Narrative Voice – Shawshank Redemption (darabont)
• Narrative Voice – 7 Lessons
• Assignment 4 & 5 – Narrative Voice Switchup

Immersive Screenwriting – Week Two

• Sentence Constructions – Why N.v.o. Rocks
• The Clause Opening – A Major Banana Skin For Screenwriters
• The Perils Of The Passive
• Vanilla Verbs – Hunt Them Down
• Vanilla Adjectives – Search & Destroy
• Suboptimal Verbs – Is & Are
• The Present Continuous – When Should You Use It?
• We See & We Hear – Do You Want To Detach The Reader From The Characters?
• Assignment 6 – Immersive Screenwriting – Rewrite Page One Of Baby Driver
• The Close Proximity Disease
• One Shot Word Weapons
• Scene Geography – Don’t Get Stuck In The Bocage
• The Ten Diseases Of Dialogue (and Cures) – Part 1
• The Ten Diseases Of Dialogue (and Cures) – Part 2
• How To Master A Character Introduction – Six Techniques
• The Tricky Team Character Intro
• How To Name Your Characters
• Why You Need To Fight For The Inches On The Page
• Assignment 7: The Copacabana Oner

Line By Line Training – Week Three

• Elkington’s War – By Matthew Skeate
• The Witch – By Roberto Gerardo
• Killer Ratings – By Jack Carey
• Promiseland – By Doug Tucker

Optimize Your Screenplay – Week Four

• How To Hook A Reader On Page 1
• The Title Page – Just The Facts
• Page One – Page Design
• The Opening Image – Your Whole Story In One Picture
• How To Open A Movie On Page One – Narc (carnahan)
• The Final Assignment: Optimize Your Page One For The Hollywood Reader

Screenplay Library

• Learn From The Pros By Reading Produced Scripts

Sale Page: Dominic Morgan – The Scriptfella Program

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