Prerequisite:
Screenwriting I
Screenwriting II

Screenwriting II is a 10-week workshop, which includes lectures, exercises, and the critiquing of student projects. The prerequisite is Screenwriting I (10-week), or the equivalent; Level II courses work best when students know the fundamentals and have experience with the workshop process.  Farther down, you can view a syllabus for this course.

Movies are the modern mythology—the stories we all watch for excitement, inspiration, and entertainment. So many genres and types...drama, comedy, action/adventure, science fiction, fantasy, thriller, horror, crime, noir, epic, western, war, romantic comedy, musical. Larger than life blockbusters or down-to-earth depictions of reality. Tales told with emotional verve and visual imagery we never forget.

A movie isn’t great unless it starts with a great blueprint—the screenplay. Here you’ll learn how to write for the movies and how to market your work.

Whether you seek to write shorts or features, Hollywood glamor or indie grit, we’ll show you how to write screenplays that light up the screen.

About Screenwriting
Screenwriting II

The class is a nurturing environment and a wonderful place to practice and hone the craft of screenwriting.

Tim Kenyon

college instructor

Upcoming Classes NYC COVID Info

Masks are not required, but we’ll provide masks for those who want them. We are no longer requesting proof of vaccination.

More Covid details
  • Starts Wednesday, July 17
    NYC, 7pm – 10pm ET
    10-Week Workshop
  • Starts Wednesday, July 17
    Zoom, 7pm – 10pm ET
    10-Week Workshop

Price

Registration fee $25, paid once per term

See Payment Options

To register for a 10-Week course, you need to pay in full to guarantee your place in class. Or you can pay a $95 deposit plus a $25 registration fee (total $120) to temporarily hold your place, but tuition must be paid in full 10 business days before your class starts or you risk losing your spot.

10-Week

Syllabus

This course helps you sharpen your skills at screenwriting craft and work toward completion of a screenplay. Writers often repeat Screenwriting II to continue their projects. Course components:
     Lectures
     Writing exercises
     Workshopping of student projects (each student presenting work two times)

New York City/Zoom classes
The syllabus varies from teacher to teacher, term to term. Many topics will be similar to those covered in the Online classes.

Online classes 
Gotham has two separate tracks for Screenwriting II online. They complement each other, and many students take both programs, but it makes no difference which one is taken first. If you take one track, then enroll again for Screenwriting II, Gotham will make sure you are placed in the other track.

The topics covered in one track (x):

Week 1
Outlines: Pros and cons of outlining. Basic movie structure. Types of outline—story map, beat sheet, step outline, prose outline. Using sections. Advice from gurus. Outline techniques.

Week 2
Protagonist: Desire. Evolution. Personality. Multiple protagonists.

Week 3
Story Construction: Plot Movies: Story basics for plot-driven movies. Detailed analysis of a plot-driven movie.

Week 4
Story Construction: Character Movies: Story basics for character-driven movies. Detailed analysis of two character-driven movies.

Week 5
World: Finding and conveying the vibe of the world. Level of reality. Professional worlds. Research.

Week 6
Art of the Scene: Basics and fine points of scene construction. Long scenes. Sequences. Montages. Set pieces.

Week 7
Good Pages: Good description. Voice. Good dialogue. Strong openings.

Week 8
Stories Within Story: Basics of subplots. Protagonist and non-protagonist subplots. Hints of subplot. Plot strands. Split point of view. Big subplots. Multi-plot movies.

Week 9
Handling Time: Time compression. Time cuts. Types of flashbacks. Using two tracks of time. Time as a puzzle. Other time stunts.

Week 10
Selling Your Script (and Yourself): How scripts are evaluated. Which doors to knock on. Various forms of pitching. How to sell yourself.

And the topics covered in the other track (y):

Week 1
What Is Your Movie?: Hollywood vs. indie. Genre. Tone. Theme. Premise. Plot types. Pitch and promotion. Emotional connection. Process. Outlines.

Week 2
Story Analysis 1: Basics of structure and protagonist arc. Detailed analysis of a plot-driven Hollywood movie.

Week 3
Story Analysis 2: Detailed analysis of a character-driven Hollywood movie. Conflict. Subplots.

Week 4
Story Analysis 3: Detailed analysis of a character-driven indie movie. Shifting goals. Plot strands. Positive and negative endings.

Week 5
Real Characters: Basics of characterization. Layers of presentation. Desires. Evolutions. Arc of perception. Relationships. Minor characters.

Week 6
Visual Storytelling: The ways to use visuals. Visual functions—plot, character, world/tone, theme, showing thought, fun, wow factor, small touches, subtext. Set pieces. Key images. Visuals on the page.

Week 7
Better Dialogue: Dialogue basics. Characterization through dialogue. Subtext in dialogue. Dialogue tricks. Excellence in dialogue.

Week 8
Suspense/Surprise: Using macro and micro suspense. Foreshadowing. Using macro and micro surprises.

Week 9
Logic/Exposition: Plot logic. Character logic. Fantasy logic. Plot or world information. Character background. Exposition techniques.

Week 10
DIY Filmmaking: Short films explained. Ideas and story in short film. Presenting short films. Filmmaking basics – camera, lighting, sound, composition, editing.

Note: Content may vary among individual classes. 

Teachers

Doug Katz
Doug Katz

Doug Katz wrote and directed the award-winning feature film Life in the Food Chain and the children’s video series Alphabet Factory, hosted by NY Times best-selling author Garth Stein. He is producing The Fabian Waltz, an original limited series about George Bernard Shaw. He has taught at St. John’s University. He holds a BA from Johns Hopkins University and an MFA in Screenwriting and Directing from Columbia University.

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Jeremy Wechter
Jeremy Wechter

Jeremy Wechter is the writer and director of the feature film e-Demon, and the short films “Shake Things Up,” “Popcorn,” “Skewed,” “Hand Off,” “Big Decisions,” and “Bad Connection.” He has directed numerous commercials, and written and directed numerous plays, including the Off-Broadway musical Little House on the Ferry, and he served as artistic director for Directors ‘n’ Actors Collaborative. He has taught at the New York Film Academy, 3rd Ward Art Center, and the New York Conservatory for Dramatic Arts. He holds a BFA from NYU.

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