Sunday, 30 April 2017

Linda Aronson: Two-Day Writing Masterclass - Sydney

If you are a writer in film TV or games (or want to be) and the only story model you know is one hero-on-a-chronological-journey you are at a serious professional disadvantage. The reality is that games, films and TV forms are now full of multiple protagonist stories. But in addition you need to master over a dozen nonlinear and fractured forms, including nine types of flashback, multi-plot and fractured tandem narrative, because these forms are now mainstream.

They are routinely nominated in the Academy and Golden Globe Awards and the Emmys and they're on TV every night. Audiences expect them. They are everywhere and, crucially, they are hybridising.

Like today’s leading writers in Europe and the USA, these forms need to become part of your stock in trade. Linda Aronson is the world expert in these complex structures. She is the only guru to provide practical guidelines for creating them. New Structures for New Audiences explains them.


Day 1: (29 July 2017): 

Mentor antagonist stories, tandem narrative, multiple protagonist narrative, double journeys, simple flashback.

Day 2: (30 July 2017) :

Complex flashback forms, consecutive stories (including Pulp Fiction), fractured tandem, nonlinear fixes for film. Nonlinear in games and to promote binge viewing in new generation serial TV serials.
The 'what' and the 'how to create' of six families of nonlinear and multiplot narrative and their subcategories (over 30 story structures) that don't fit the Hollywood model, including 9 types of flashback structure.
How each form relies on splitting up, multiplying or truncating the basic three act structure of traditional screenwriting according to predictable patterns that you can use as templates.
How to use multiple protagonists, mentor antagonists, the passive protagonist and how the same character can be a protagonist in one time frame and antagonist in another; ‘the death of the second act’, that is, structures that truncate or do away with the second act altogether; also, stories that are exposition-heavy and cannot be told suspensefully except via non-linear.
How to use cross-connecting devices, including the 'macro plot' and 'the facilitating character'. 

How to use the 'portmanteau structure' a structural technique which permits a number of stories to piggyback on the structural build of one story (as in Pulp Fiction, Amores Perros, etc.)
Using a portmanteau to create your own Pulp Fiction-style structure.
Using nonlinear fixes for problem feature films.
How to use nonlinear series arcs to trigger binge viewing in new generation TV drama serials.
How nonlinear forms in games can increase emotional engagement and replayability. 


What the experts say.

'Linda Aronson is one of the great and important voices on screenwriting.’
~Linda Seger

'At last you will understand Pulp Fiction! All the vague confusing things that teachers and studio executives say about flashback, turning points and multiple protagonists are whipped into coherent shape, in a comprehensive, precise and extremely practical theory.' ~Christopher Vogler, The Writers' Journey

'Anyone who has heard Linda Aronson speak about screenwriting knows that the insight that she can offer YOU, about YOUR screenplay, is extraordinary. I have personally heard all of the so-called ‘script gurus’ speak, and I can tell you, if you want advanced professional script insight, Linda is the person for you.'
~Chris Jones, Academy-Award Nominated Screenwriter, organizer London Screenwriters' Festival

‘Linda Aronson is one of my heroes. My inspiration. Screenwriting Updated blew me away - Linda Aronson was the first person, maybe still the only person to really talk about the fact that structure doesn’t always have to be about one form.’ ~Pilar Alessandra. Leading Hollywood Scriptwriting Teacher.

‘F- ing brilliant’ ~Duncan Thompson, writer/script editor/screenwriting teacher.

'Narrative structure goddess' Linda Aronson ~Lucy Hay, top UK script editor.

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