Four AFW Online Master Screenwriting Classes Coming in January

“Most aspiring screenwriters simply don’t spend enough time choosing their concept. It’s by far the most common mistake I see in spec scripts. The writer has lost the race right from the gate. Months — sometimes years — are lost trying to elevate a film idea that by its nature probably had no hope of ever becoming a movie.” ~Terry Rossio [Shrek, Pirates of the Caribbean, The Mask of Zorro]

The first week of —

Screenwriting 101, students turn in their story ideas. Ironically, students with the most mundane ideas tend to be the ones most worried about ideas being stolen. “I have this great idea about a woman going home for Thanksgiving, what if other students steal it?”

Hmm. Okay. Three things:

•One, other students in a screenwriting 101 class don’t have the connections or chops to steal an idea.

•Two, the only person who could steal an idea in a screenwriting 101 class is probably me the teacher — I do have the connections and chops to walk a concept into a studio.

•Three, there is no way I would do that –– first because it is unethical, but more importantly? The concept sucks and no one at a studio is going to get excited about it.

Yeah, I know, you’re laughing at the poor bastard who thought a story about Thanksgiving dinner is an exciting and novel concept. But ––

Take a hard look at your concept. I’m willing to bet 90% of the concepts out there would make the Jeopardy category “Most Done Screenplay Concepts.” [That’s a safe bet, I read a few hundred scripts a year so have a pretty good idea of what is out there.] Think yours wouldn’t make that list? Consider some of its components. How expected is the setting? How expected is the genre? How expected is the character in the lead role? How expected is the opposition? How many other scripts have the exact same villains — in a damn similar scenario? [Hint, Middle Eastern terrorists with bombs are not new and exotic bad guys.]

Also, before you sass me about scripts about characters going home for Thanksgiving getting made and working –– take a look at the screenwriters’ names attached to those films. Those names are usually not “beginner” names. And when they are? Not beginners who sold to a studio. Beginners who had to go indy and are probably still working the bookstore job because indies rarely pay rent. Even the A listers usually have a damn hard time convincing suits “Going home for Thanksgiving” is a project to throw millions of dollars at.

If you’re new? If you’re breaking in? If you’re somewhere in the middle just trying to make that next sale and nothing is sticking? Maybe what you’ve got there is a Thanksgiving script.

Studios might be more inclined to take a look at a Thanksgiving script if something about the story concept stood out. Like, location and genre. Maybe it’s not just Thanksgiving dinner. Maybe it’s Thanksgiving dinner on Mars. That is a start. Or maybe there is some mental real estate thrown in there –– maybe it’s the president having Thanksgiving dinner on Mars. Or the creator of the biggest social networking site on the planet. Maybe the stakes could be higher. Maybe it’s the president AND the creator of the biggest social networking site on the planet having Thanksgiving dinner on Mars and the fate of Planet Earth hangs in the balance ––

I am making that up on the fly and it’s not a story I would recommend you write. But it is a mindset I would recommend you adopt. How do you make the concept bigger? Think genre. Think location. Think mental real estate. [If you are on Facebook or just recognize the name, maybe you get why studio peeps were willing to throw millions of dollars into making a film about a computer nerd facing a lawsuit — that would not have flown if the computer nerd hadn’t created the most recognized social platform on the planet. “Facebook” is the definition of mental real estate.] Think stakes –– how could they be raised?

There’s something you can up — always — in a simple story concept. And if you are trying to break in, trying to get read and sold, trying to get attention ahead of the A list writers already in every studio rolodex? You had better be thinking about ways to “more up” in the concept department.

•More up in High Concept Writing. Seating is limited. Register today.


open seats 10.28.10

October 28, 2010


I have one seat open in the 5150 workshop, one seat left in the January pitch class, and four seats open in the Nov visual writing class. Also, the March high concept writing class is now open for registration.

*high concept writing is very popular please register early to reserve a seat in that class


:::class info:::

*update: the pitch class is full, the next pitch class will be 09.13.11



new class ahoy yay!

May 11, 2010


High Concept Writing —

Starts today. Yay!

This is one of my favorite classes it is mad interactive.

Next class on the horizon is Character Writing. Which is also mad fun and stars Charlotte.

[To know more about Charlotte you will have to track down someone who has taken Character Writing before.]

Character Writing starts July 13, 2010 and is officially open now for :::registration:::

Character Writing is limited to twelve students so please sign up early to reserve your seat. Reserving a seat also requires a course deposit.


*for info on character writing visit :::classes at afw::: and to sign up visit :::contact afw:::

April 18, 2010


So —

This is my new project. The Max Academy is getting all grown up. Now it is the Academy of Film Writing. Go look:




New Class Yay!

•NEW : High Concept Screenwriting | Begins Tuesday May 11, 2010

This is an online 6 week advanced course on high concept screenwriting taught by yours truly Max Adams.

This should be a real fun class. With high concept, the sky is not even a limit.

For more info visit :::in person:::



About your lovely instructor: Max Adams is the author of The Screenwriter’s Survival Guide: Or, Guerrilla Meeting Tactics and Other Acts of War [Warner Books], has worked with Hollywood Pictures, Touchstone Pictures, Universal, Tri-Star and Columbia Pictures, is the founder of two international online screenwriting workshops, Left Door and 5150, is a former AFI Alumni reader and WGA online mentor as well as a current Nicholl reader and judge, and is a 2010 recipient of the College of Fine Arts Distinguished Alumni Award from University of Utah.


*class size is limited.
*a writing sample may be requested prior to acceptance to this class
*a course deposit is required at sign up to hold your chair
*there is a may chair open in 5150 visit :::workshop::: for info


where the art work comes from :
that is from cesc!

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