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Upcoming Events | Scriptwriters Network

SCRIPTWRITERSNETWORK.COM

We hope you will take a few minutes to view our website and see everything we have going on as well as our upcoming and past events and, information we provide for our members.

Creating Non-Stereotypical, Three-Dimensional Characters

You will learn the power of subtext: how to embed details of motivation—thoughts, wants, goals, secrets, flaws, and delusions—into physical behavior, speech patterns, and specific habits that echo throughout your story.

Creating Non-Stereotypical, Three-Dimensional Characters

Some writers talk about creating connections with their characters so deep that the characters feel like real people. But how do you bring memorable, three-dimensional characters to life enough to make that connection? Find out in this class.

One-On-One with Writer and Story Editor Stephie Theodora

|| Event Date: Saturday, November 14, 2020 ||

|| Speaker: Stephie Theodora ||

|| Start time: 1:00 pm PST ||

This event will discuss a variety of topics, including: story editing, writing for games and theatre plays, the Speaker’s story, writing strong characters, creating a compelling premise and/or story, finding your voice, script development, writer’s vision, past projects, among many other topics.  

Stephie Theodora is a Canadian/EU award-winning stage, game and television writer. Her plays have been produced internationally across North America, Europe and Asia. For games, she’s written for hit titles such as Pearl’s Peril and Bubble Island 2. For TV, she has written for series such as BAFTA-nominated Danger Mouse, Littlest Pet Shop and Gummy Bear and Friends as well as freelanced for Mattel, Warner Brothers, Disney and The Jim Henson Company.

Currently, she is the story editor of the action-packed third season of Robot Trains on Netflix.

Submissions are now OPEN!

Regular Deadline: July 31, 2020

DESCRIPTION:

The High Concept Screenplay Program welcomes all genres and aims to discover, honor and reward different approaches, eclectic points of view and unique voices in screenwriting. A high concept screenplay:

has a great premise – the idea is king (e.g. “Big”)

has a memorable title – it conveys what the movie is about (e.g. “Wedding Crashers”)

has a visual logline – you can see the movie (e.g. “40 Year Old Virgin”)

has universal appeal – all demographics “get it” (e.g. “Star Trek”)

has clear conflicts, high stakes, a hook, a ticking clock and/ or a twist (e.g. “Liar Liar”)

has a succinct, descriptive “pitch” of 25 words or less (e.g. “Seven, Home Alone”)