We are flying Linda Aronson in from Australia for a ONCE only masterclass...
When: October 5th and 6th // Where: Ealing Studios, London, W5 5EP // How Much: £199
Linda Aronson is the world's leading expert in new story techniques and tools such as Flashback, Time Jumps, Tandem Narrative, Multiple Protaganists, Double Journeys, Consecutive Stories and Fractured Tandem (used in films like Pulp Fiction, Inception, Atonement and 21 Grams)... She has created robust and powerful frameworks from which you can build those stories you want to tell, stories that feel limited or underdeveloped in a linear three act structure. For writers who want to work in longform TV, this masterclass will reveal the deep DNA of successful stories and illustrate how you can harness these techniques.
While the nineties and noughties were dominated by three act script gurus, NOW, broadcasters, production companies, agents and most importantly, audiences, are consistently demanding more elegant and sophisticated stories (and therefore screenplays).
Linda Aronson's 2 Day masterclass on advanced theories and techniques for creating original story design explodes conventional screenwriting theory for both feature film and TV. Recent shows using the techniques that Linda identifies, unpacks and reveals include 'Killing Eve' , 'The Bodyguard', 'Big Little Lies', 'After Life', 'The Night Manager', 'Happy Valley', 'Collateral' and 'The Handmaids Tale'.
Linda’s radical and utterly new approach is searched out by screenwriters and screen editors who are looking for practical guidelines for creating flashback, multiple protagonist and fractured structure films as both mainstream film and TV now regularly use nonlinear and ensemble forms.
For TV writers, the masterclass incorporates a session she first created for BBC TV’s leading drama writers, explaining how a variety of nonlinear structures can reinvent and even fix TV series and mini-series, serials and single dramas.
Delegates gave us an overall rating of 4.8 out of 5
99% agreed that the course was value for money
99% would recommend to a friend
Screenwriting today is dominated by the US mainstream model. It is a fine model but it is not the only one. One of the unfortunate side-effects of the pervasiveness of this model is that, excellent as it is, it deems a whole range of stories unsuitable for film on the basis of their structure and content.
For writers, this can restrict the stories you want to tell, as well as the way in which they are structured. Many films that won’t work in the traditional three act structure CAN work using one of the parallel narrative forms.
The fascinating thing is that the parallel narrative structures all conform to predictable patterns, patterns based on manipulating the three act structure in one or more ways - multiplying it, fracturing it, truncating it – hence it is possible to create templates and guidelines for writing it.
The important thing to remember when planning these structures is that their mechanics are very precise. Each form requires a different structure and operates according to different rules.
This two day workshop will explore these new paradigms, deconstructing them so that YOU can use them in your projects too... series, serials and single dramas.
'My seminars are very practical. I'm a writer, so, like you, I'm interested in how scripts work. In my seminars I not only describe the outward appearance of parallel narrative forms but I also explain the mechanics. Together, we lift the hood or bonnet and examine the engine inside to see firstly how it works and secondly - crucially - how you too can build it. I give templates that you can use as plans.
Very often things like flashbacks, flash forwards, non-linear narratives, multiple plots and ensemble casts are regarded as optional gimmicks stuck into the conventional three act structure. They're not.
Each of the six types I've isolated and their subcategories provides a different take on the same story material.
Suddenly, one idea for a film can give you a multitude of story choices.
I explain the structural principle and practical mechanics of six types of parallel narrative 'engine' (they're all different), and their subcategories.
For example, in the flashback family alone there are six different sorts of sorts of flashback structure, each suited to a different purpose. I explain the potential traps and provide practical planning techniques - because these films need a great deal of planning.'
‘A good kick in the conventions…!'
Pete Dodd, Director
‘It was one of those light bulb moments when suddenly everything made sense’
Deanna Dewry, Writer turned director
‘I was open mouthed at so many fantastic ideas!’
Debbie Manship, Writer
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