Screenwriting: Writing the 10-minute Short | Sarah Zucker | Skillshare

Screenwriting: Writing the 10-minute Short

Sarah Zucker, Screenwriter

Screenwriting: Writing the 10-minute Short

Sarah Zucker, Screenwriter

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7 Lessons (1h 21m)
    • 1. Trailer

      1:18
    • 2. Three Act Structure & the Anatomy of a Short Film (8:06)

      7:57
    • 3. Character Development (4:15)

      4:07
    • 4. Writing a Treatment (3:04)

      2:56
    • 5. Elements of Style for Screenwriting (2:33)

      2:24
    • 6. Writing Visually (3:08)

      3:07
    • 7. Rewriting and Seeking production

      59:18
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About This Class

Short films are the ultimate calling card in the movie industry, and can be your ticket to an agent, a contract, and even (yes!) an Oscar. In this class, you will learn how to write the screenplay for a ten minute short film, which you can then use as a writing sample or to pursue production.

This class is for anyone wishing to learn the basics of screenwriting in a supportive space. Drawing from my own professional screenwriting experience, I'll teach you how to pitch, outline, write and workshop a 10-minute short film.

This class covers:

  • The basics of storytelling: three-act structure and the clockwork of compelling stories
  • Elements of Style for screenwriting: how to format it on the page
  • The anatomy of a good short film
  • How to write a treatment, or synopsis, of your idea
  • Developing character: making it seem real
  • How to effectively process feedback without feeling dejected
  • Seeking production and professional advancement

How it will be taught

The course will be taught as a series of pre-recorded lecture videos that introduce the concepts and how-tos of storytelling and screenwriting.

Students are able to seek feedback from one another by uploading their work to the Project Gallery. 

Students will also have access to a Q&A forum where they can find answers to their questions, should they get stuck. 

Hope you enjoy! 

Meet Your Teacher

Teacher Profile Image

Sarah Zucker

Screenwriter

Teacher

Hello! My name is Sarah Zucker. I'm a screenwriter, filmmaker and visual artist based in Los Angeles. I'm a co-founder of The Current Sea, a design team that specializes in Animated GIF.

I am also a JEOPARDY! Champion.

Originally from Canton, OH, I earned a BA in Theater and Creative Writing for the Media from Northwestern University, and an MFA in Dramatic Writing from NYU, where I was the recipient of the Venable Herndon Award for Excellence in Graduate Screenwriting.

I served as the Program Administrator for the Writers Guild of America, East Foundation from 2009-2010, and am a professional reader for The Black List, Hollywood's premiere Film and TV script repository.

See full profile

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Transcripts

2. Three Act Structure & the Anatomy of a Short Film (8:06): - Hi. - Welcome to screen writing. - Writing the 10 minute short, - I'm your instructor, - Sarah Zucker, - and over the next four weeks, - I'm going to teach you how to pitch, - outline right and workshop your own short screenplay. - Each week, - I'm going to go over different aspects of the screenwriting process and provide you with - examples and handouts that you can explore in your own time. - I'll go over our assignment for the week and how it fits into the screenwriting process at - the end of my lectures. - In this lecture, - we're going to talk about three act structure in the anatomy of a short film. - Three. - X Structure is the most common plot format for a Hollywood film. - 99.9% of all stories in the Western canon follow three act structure, - Or at least they try Teoh. - Even those that break three act structure do so willingly. - Three extractor dates all the way back to the Greeks and starts with Aristotle's poetics. - Aristotle's the guy who came up with the idea that every story has to have a beginning, - a middle and an end. - If you want to learn everything you ever wanted to know. - About three act structure and a lot more. - You should take a look at Aristotle's poetics before I get started talking about three act - structure. - There are a few key terms we need to go over. - The first of these is plot. - When I say plot, - I'm talking about the series of actions that comprise the main story of the film. - The next time you're gonna hear me use his theme. - When I'm talking about theme, - I'm talking about the greater human concept that the film is about now. - The last term you'll hear me use is character. - When I talk about character, - I'm talking about the people or creatures who inhabit the world of the film and take the - actions that comprise the plot. - I'm gonna get Mawr into character development in a later lecture, - but you're going to hear me use the word protagonist a lot. - The protagonist is the main character in your film. - They don't necessarily need to be the most likable or the most interesting and often times - they aren't going to be. - But the protagonist is the central character whose actions comprise the plot. - We need to have a strong protagonist so that we can follow the threat of the film. - There are different schools of thought on how to teach writing, - and I emphasize plot over character because I think generally you're gonna write what you - know. - So the characters were gonna come to you a little bit easier. - The plot is the clockwork that makes your piece tick, - and that's the part you're gonna have to keep practicing until you get it right. - Three Act Structure is the most tried and true clockwork for a Hollywood film. - It's easily recognizable and can be illustrated by a simple triangle. - We start one place with a character who wants something. - The tension mounts as they go after what they want, - and there's a point in the middle where their quest becomes clear or something changes. - Then the tension begins to deflate. - As we work towards a resolution at the end, - we've resolved the question of the story. - Another way to look at it is to break the structure down into its individual parts. - We start with Act one and Act one. - We start with the character who wants something in their world. - In the case of Wizard of Oz, - we start with Dorothy Gale, - who lives on a farm in Kansas and is unhappy with her humdrum life. - Then there's something called the inciting incident. - The inciting incident is something that occurs that sets the character on their quest. - In the case of Wizard of Oz, - it's very clear it's a tornado. - Then we have act to Act two is gonna comprise the meat of your film. - In the case of the Triangle, - Act two is pretty much the whole upper part in Act two of Wizard of Oz. - Dorothy reaches Oz and then realizes she must go see the wizard to get home. - That's that whole tension mounting part when she meets the wizard and learns that she has - to kill the wicked Witch of the West. - That's where we now learn how she's gonna finish her quest, - as she does that the tension begins working towards its resolution. - When Dorothy kills the Wicked Witch of the West. - That's the climax. - The climax is the point where the protagonist either accomplishes their quest where - something happens to nullify the quest completely. - After the climax, - we have Act three. - Act three is where we show the resolution. - We show what's happened now that the character has gone on their quest. - In the case of Dorothy Gale, - Act three is after she's killed the witch and she gets her metal from the wizard and he - sends her home. - You can refer to the handout I've provided to learn more about three act structure, - and we're going to talk about the anatomy of the short. - There are many reasons a person might want to make a short film. - A short film can act as a great calling card to have in your portfolio. - For a writer, - a director and actor or really anyone in the filmmaking business, - a short film can garner interest in a feature, - which is another reason a person might want to make one. - There are also many competitions for short screenplays, - so it's a great thing to start with if you're looking to get into screenwriting and garner - some interest in your work now, - the thing to remember is that short films simply don't have the time to explore things that - feature length films do. - So short films need to be laser focused. - Generally, - we follow one character and one theme. - A good way to think about this is like the difference between a poem and a novel. - A poem is a lot shorter than a novel, - but it doesn't necessarily mean it's saying less. - It just means it has to choose its words a lot more carefully and is generally much more - focused on a single topic. - Now it's important to remember that just because it's shorter doesn't mean it shouldn't - have structure. - They're surprisingly very little difference in the structure of a short film and a feature - length screenplay. - When you're writing a short, - remember, - you still need to have a beginning, - a middle and an end. - Good narrative. - Shortz almost always incorporates three act structure. - We start with a character who want something. - They go after what they want, - experiencing problems and escalations. - Then there's usually some sort of climax or twist, - and then we reach a resolution. - You send your character up a tree, - you throw rocks at them and then you find a way to get them back out of the tree again. - In this form, - out of storytelling, - the most important thing is having a character who wants something. - Once you have a character who wants something, - they could go after what they want. - The next most important thing is conflict. - Once you have your character wanting something, - you have to think of the rocks you're gonna throw at it. - You have to think of the obstacles that are going to get in its way. - You can think of these two pieces. - You already have the basis of a story you have to assignments for this week. - The first assignment is to watch the Maidan in the Princess, - an award winning short film by Ali. - Sure, - we're going to watch the maiden in the princess, - and then we'll discuss its structure in our office hours next week. - Your second assignment is to come up with three pitch ideas for a short film. - Well, - I know this might seem like a lot to come up with three ideas. - I want you to get the hang of coming up with a basic story element. - Thes pitches don't need to be fully fleshed out. - They really just need to be more like those sketches of what your story is gonna be. - To give you an example, - I'm gonna pitch the Wizard of Oz to you. - Unhappy with her life on the farm. - A young girl from Kansas wishes she could be anywhere else. - When a tornado comes and sweeps her away to a magical land, - she comes to realize that there's really no place like home with a rag tag band of a - scarecrow, - a tin man, - the lion and her little dog, - Toto. - She goes to seek the help of a wizard and must defeat an evil witch so that she can find - her way back. - That's all for this week. - I hope you have fun doing your assignments and I'll see you next. 3. Character Development (4:15): - I think in this lecture I'm going to go over how we can develop interesting and believable - characters. - The first character we're going to talk about, - which we've already talked about a little bit, - is the protagonist. - The protagonist is the main character of your story, - and the actions of the protagonists are what comprised the plot of your screenplay. - The second character we're going to talk about is the antagonised. - The antagonised is a character whose actions and motives are in direct opposition to the - protagonist. - Now the best antagonised are ones who are not sheer villains but rather are people whose - motives are ones we can understand and believe in. - That just happened to be opposed to the protagonist. - In the case of a short film, - your antagonised doesn't even necessarily have to be a person. - It could be in a opposing force or an opposing system. - If your character wants to fly, - a good antagonised for them would be gravity. - Another character you might want to use in your screenplay that is, - by no means necessary is a character foil. - A foil is a character whose secondary to the plot, - whose main purpose is to serve as a contrast to the protagonist. - If you do choose to use a foil, - they can be useful because you can show what your protagonist is by showing precisely what - they're not. - Another thing you might want to employ when you're developing your characters are character - archetype. - It's an archetype. - Is a type of person a sort of greater theme. - We could have the archetype of a mother or of a father or of a child. - All of those are specific roles within society that dictate the way a person behaves. - It's good to start with archetypes and then flesh them out so that they become more and - more believable. - A humans. - If you want to learn more about archetypes and find ones that you can use for yourself, - I recommend TV tropes dot org's. - It's a list of all of the contemporary character archetypes you'll see on TV screen video - games anywhere. - It's a great resource, - and it could be a good jumping off point if you're not sure where to get started. - While archetypes can be very helpful in developing plots, - I will say it's important that you add enough of your own details to make them seem - realistic. - There are many different ways you can develop interesting and believable characters, - and that's something that you pretty much have to find for yourself. - But since you're just getting started, - I've provided you with the character development worksheet. - This worksheet asked you the kind of questions you should ask of your characters before you - even get started writing so that you make sure you really know who they are and what their - story is. - A great little nugget of wisdom, - I once learned, - is that a person's greatest virtue is often also their greatest vice in excess. - This is just one way you can start thinking about characters to make sure that their - nuanced and seem like actual human beings. - Another way to make sure your characters are compelling and believable is to write good - dialogue. - A lot of writers struggle with dialogue, - but it doesn't have to be that difficult characters or just people. - So you have to think of the way people talk. - A great thing to do with dialogue is make sure you understand the background of the - character, - what time period they live in, - where they grew up, - what their socioeconomic background is. - All of these things factor into the way they talk and what is known as their dialect. - First, - make sure you understand the dialect of the character. - The next best piece of advice I can give you in writing dialogue is to speak it out loud to - yourself. - Well, - this is by no means necessary, - and there are a lot of writers who don't do this. - I find speaking the dialogue out loud while you write it makes sure that the character - sounds like a person and not just like words on the page. - In the next lecture, - I'm going to tell you about writing a treatment and a little bit more about your assignment - . 4. Writing a Treatment (3:04): - this'll lecture. - I'm going to tell you about how and why to write a treatment of your short film so that - you'll be prepared for this week's assignment to do precisely that When I say a treatment, - what I mean by that is a synopsis of the story of your screenplay. - Now the treatment for a future film can usually run from about 8 to 15 pages, - but the treatment for a short film should be 1 to 2 pages. - Max. - When you write your treatment, - essentially, - what you want to get across is the who, - what, - why and where of your film. - The reason I'm having you write the treatment before I have you write the script of your - film is that way. - You have a guideline. - When you go into the scripting process, - you already have the treatment in hand. - You already know what the main plot of your film is, - so you are going to get lost on a tangent when you get into the scripting process. - This is not necessarily standard, - and some people prefer to write a treatment after they've written the script of their film - . - But I prefer to write a treatment beforehand because it makes sure that I keep focused on - what it is I'm trying to write about. - The appropriate format for a treatment is to be written in present. - Tense in paragraph format should be written in a normal font, - a 12 point and single spaced. - I'm going to get more into the elements of screenwriting and another lecture. - But when you're writing a treatment generally, - when we introduce a character for the first time, - you put their name in all caps. - This can optionally be followed by their age and their gender in parentheses. - This helps you get that information out quickly. - In writing your treatment. - Make sure you include a title at the top. - This doesn't have to be your working title. - This doesn't have to be the title you settle on, - but you need to have a title so that people know what to refer to. - Your film adds. - A treatment differs from an outline, - which is usually a breakdown of each scene that would occur in a film. - A treatment is more often used to garner outside interest in your film. - For people who aren't going to read the script right away, - an outline is usually an internal document that the writer and the writers partners use to - make sure they know specifically what's going to happen in the course of the film. - Well, - you're not required to write an actual scene breakdown for this course. - You may find it helpful to break the scenes down in paragraph form before you try and - script them. - But for now, - I want you to think about the treatment and how you would say not size the plot elements of - your film. - Your assignment for this week is to write your own treatment of the short film idea you - selected from your three pitches. - I've provided a sample treatment from a feature film for you to use as an example. 5. Elements of Style for Screenwriting (2:33): - thing in this lecture, - I'm going to go over the elements of style for screenwriting. - Which is to say I'm going to tell you how to format your screenplay correctly on the page - so that it looks like a screenplay and not something else. - This is what a screenplay will look like on the page. - Please refer to the Elements of Style handbook I've provided with you that will tell you - what each of these different elements are and how you use them. - This is what a finish screenplay should look like. - It always has a title page on the front, - formatted like this. - It will be three hole punched on the side and it's gonna have brass fasteners or Brad's in - the top in the bottom holes only. - I have asked a 1,000,000 people why this is and I still don't know, - But this is how you make sure it looks professional when you're finished. - Now that you're ready to begin the scripting process, - you're going to want to use screenwriting software. - I recommend final draft, - which is the industry standard software. - There are other Softwares out there like movie magic screenwriter or Celtics, - to name a few, - but you'll find that most screenwriters use final draft and that most people assume you're - using final draft. - When you write your screenplay, - there are major benefits to using Final draft. - It has a bunch of hot keys built in, - and it understands all the elements of style for screenwriting, - so it makes it a lot quicker when you're ready to start the scripting process. - It also has templates built in for TV playwrighting and all the various different kinds of - screenplays, - which could be especially useful when you're getting started. - You're not required to use final draft for this course, - but I do highly recommend it. - If you need advice on what to use is a work around for final draft, - please refer to the handout I've provided as it provides some simple solutions to writing - screenplays in a standard word processor. - Your assignment for this week is to write the first draft of your screenplay. - Keep in mind that each page equals about a minute, - so a 10 minute screenplay should be about 10 pages long. - Have fun writing and I'll see you soon 6. Writing Visually (3:08): - this'll lecture. - I'm going to talk about writing visually in the mode of writing you use when you're writing - a screenplay. - When I say writing visually, - what I mean by that is to always keep in mind that you're not writing words. - You're writing pictures. - A screenplay is essentially a blueprint for a film. - It's not meant to be read by anyone but the people making the film. - It's not like a novel which is going to be given to its readers. - Just a zit is need to always keep in mind that what you're writing is going to be used by - the director and the other crew members to inform what will end up being the final product - . - When you write a screenplay, - you generally want there to be more action than dialogue. - This is not true of plays or TV shows, - which tend to be more like filmed plays than like films themselves. - Filmmaking is a visual medium, - so even in a dialogue driven screenplay, - you need to make sure that in your action you describe every single thing that the audience - is going to see. - While directors generally get most of the credit, - it's the screenwriter who originally comes up with the pictures that comprise the film. - A great example of this is the Hitchcock film North by Northwest, - which contains a famous scene where a crop duster playing chases Cary Grant through an open - field. - Hitchcock always gets all of the credit for this, - and it was actually the screenwriter Ernest Lehman, - who first put the idea on to paper. - If you read the screenplay for north by Northwest, - you can almost see the scene exactly as it exists when you read it on the page. - Another piece of advice for writing visually is to avoid adjectives and cliches. - While it's necessary to use adjectives at some point, - you want to be as sparing as possible. - While you could describe a character as tall, - dark and mysterious, - you could get the same idea across if you described him as Byronic or brooding. - It shows that you're a better writer and that you're making better use of the space you - have when you're writing. - Also, - be wary of using cliches. - You should always try and find your own way to say something and not relied too heavily on - overused expressions. - This is something that could really make the difference between good writing and bad - writing. - The best advice I can give you for writing your screenplay is to read the screenplay for - films you've already seen. - When you do this, - it becomes much easier to see the correlation between a screenplay in the film that gets - made of it. - I've provided as many screenplays is I could find for your resource so that you can read - them on your own time and better understand how filmmaking works from script to screen. - Good luck as you begun writing your screenplay this week and always keep in mind, - you're trying to write pictures and not words. - Thanks for listening to my lectures, - and I'll see you in office hours next. 7. Rewriting and Seeking production: - Hold on a sec. - Let me get my headphones on here. - All right. - So, - um, - congratulations to those of you who have completed your first draft. - I bet you feel great about it. - Um, - and for those of you who are still working, - you haven't posted them yet. - Um, - I think I know I've said this before, - but ah, - the structure of the class I've given you is a very, - ah sort of loose guideline to try and give you, - ah, - appropriate amount of time to do these things. - Obviously, - I give you a week to write a first draft, - and I also give you a week to write. - You know, - your treatment. - And I'm well aware that a first draft takes can take longer to write than a treatment. - But I've found, - especially with a short that spending too much time on it can is the easiest way to make it - kind of fizzle out. - Um, - so I hope I hope that went well. - But But the point of this is that for those of you that haven't finished your first draft - yet, - haven't been able to post it yet. - Please do. - There's still time. - I am going to read the work of every person who's been who's been following along with this - course. - Um, - and I think I mentioned this in my post about office hours that I am myself fell behind - this weekend with keeping up with my reading for all of you, - which I apologize for, - um, - because I had a sudden opportunity pop up to pitch something this week and just I had to - spend the weekend kind of hammering a bunch of stuff out. - So, - um, - if you can if you can bear with me and the fact that I I set deadlines for myself that I - don't always meet, - then I, - of course, - will do the same for you. - So, - um, - if you haven't posted that first draft yet, - just, - you know, - get it up there when you can. - I think, - according to the syllabus, - um, - next Monday is my deadline for your first rewrite. - I rewrites taken, - take forever. - So I fully expect that for a lot of you, - you might not get your first draft posted until next week. - And, - um, - you know, - it's really only going to be the overachievers who actually meet that deadline. - I get that. - I asked you guys to do this quickly. - But really, - by next week, - what I want is, - uh, - but by Monday of next week, - you need to have your submission, - which is your final submission for this class to me, - if you want it to be considered for the grand prize, - which is a one on one feedback session. - Um, - so So, - yes. - So that deadline is next Monday. - I believe that's April 1st, - um, - I think. - And, - um and right. - So what? - Whatever you have on your project by next Monday is what I am going to consider when I - choose my three selections for the best screenplay. - Um, - and then by the following Monday, - I will have read everything, - um, - and like a central get feedback to everyone. - Um, - but three people who whose scripts I think are I say the best. - I You know, - I don't want you to think if I don't pick your screenplay, - that I don't think your script is good. - I I think probably I will be choosing along the criteria of the three screenplays that I - think are most viable. - A short films. - So, - you know, - that's that's what you are in the running for And I encourage you, - even if you haven't met all of the deadlines to still submit, - Really? - All that's gonna matter in terms of what I choose, - uh, - is what I see on your project on Monday of next week. - Um, - so with that little bit of business out of the way, - um, - I wanna start getting into some of the questions that we had this week. - Um, - our first question is one that I can wax poetic about for a good long while on I will try - to be distinct. - Um, - Dia Pilarczyk asked. - She was wondering, - she said, - after after my comments of last week about getting exposure online water, - my thoughts on Amazon studios is Is this a good way for unknown writers to get feedback and - exposure? - Or do you open yourself up to problems with essentially giving your rights away? - And for those of you who have been following the discussion threads, - this is on the discussion thread for for my quite the questions for this week's office - hours, - um, - I gave you two. - I posted two articles by Craig, - Mazen and and John August respectfully, - who pretty much say what I would say about Amazon studios better than I can. - But JP Lewis pointed out something very important, - which is that Amazon and studios reviewed or revised their terms, - which I I fully admit I was not aware of. - So, - um, - I did a lot of research. - I reviewed their new terms and, - um well, - here's what I'll tell you. - Here's what Here were my initial thoughts when I was still going off of their initial terms - that I had first been made aware of and kind of was like, - You know, - who would want to do that? - Um, - Amazon Studios, - when they initially launched, - launched with this this idea? - Um e I think it was kind of hot off on the heels of Kickstarter and how the idea of - crowdsourcing had become this big knowledge is, - um, - that everyone was using. - And so they basically said, - What if we could crowd source movies and TV and they they launched this platform kind of - similar to their self publishing for books, - E books platform this platform for screenwriters to submit their ideas, - submit their full length screenplay and then have just the world, - Have anyone just kind of like make revisions, - make updates And then there were all these different ways in which Amazon could option the - screenplay from you. - And it was all done very much, - uh, - in the paradigm of a contest, - like they made it sound. - And then again, - I'm reminding these were the initial terms. - They've since changed that. - But initially it was all very Ah, - it wasn't geared towards professional writers. - That much was clear that it was sort of It was like if they're trying to get people who - write for a living, - people who write for a living know enough to know that they're getting a very bad deal out - of this, - which is that your work would be just out there publicly so any person could steal it. - And And people were welcome and encouraged to make, - like revisions and changes and all this stuff. - Um, - and they sort of were selling it with this idea of like, - if we option your screenplay, - we'll give you $10,000 on. - And it was like hoping, - you know, - hoping people would serve it like, - Oh my God, - $10,000. - Well, - you know, - $10,000 is not even a year's worth of us of a decent salary and will be gone very quickly. - And that is not that it's not nearly the level of funding you should get if if a major - studio which Amazon is now becoming eyes optioning your work. - So it felt very much at the beginning the fact that they even were approaching it like it - was a contest. - Always kind of, - I think, - left a bad taste in writers mouths from amounts from the get go because it it was sort of - this this odd approach to anyone can be a writer, - which yes, - I mean, - that is true. - Anyone can be a writer, - but it is still it is a profession, - and there are a lot of, - ah, - you know, - concerns that go into it and a lot of possibility for exploitation. - So it seemed very much at the start, - like it was a very exploitative, - uh, - scenario. - But I have not done my research. - I've seen that they've revised their terms and have taken notes to share with you. - Um, - that before it was that they would they would option your work from you. - They would pay you all your work up front or pay you for all your work up front, - and then they would retain an 18 month option on your work so they might pay you, - you know, - $600,000. - But then, - if they end up turning that into ah, - you know, - a movie that makes millions you wouldn't get more, - you wouldn't get more from that. - And they've now they have now changed that, - um, - that now you will get you'll get right profits from your rights, - which is huge. - Aiming to me, - that's like, - the biggest one that now, - Now they're saying the original author of something will get 100% of the profits even - though they're trying to keep this this kind of crowd sourcing idea. - If other people make changes or make like, - a trailer of your movie or do this other stuff, - it will it will increase their clout, - their social media clouds, - and it will give them, - you know, - the glory of having their work seen, - But they can't make money off of you know of what you came up with now, - um, - and sort of tied to that, - um, - they, - uh what was What was I gonna say? - Oh, - tied to that. - They used to be non union, - and that was that was the biggest red flag for everyone, - any. - And that's that's why those articles I posted, - those guys were kind of ripping it apart, - saying, - like for us hard, - his writers have fought toe have, - you know, - workers rights. - So why on earth would they suddenly start undermining themselves in this way on the - Internet on? - And so they've Amazon studios has since become a WG a signatory. - That's the Writers Guild of America, - which means now that if they option your work, - you now have the option of having a Writers Guild contract which has all of its Mary out of - protections for you, - Um and and largely largely protect your rights if they if they go forward with it. - Um, - but, - you know, - I personally like I I'm writing for the Internet and I and that's where I'm hoping to get, - You know, - a lot of my work my recent work is is probably gonna be seen on the Internet and not on TV - . - We're on a film screen, - so this is the stuff I keep up on, - and I think about a lot and the thing that strikes me still The reason why I think you - should still be wary of using Amazon studios is, - um, - they are very much setting themselves up as a big production company as a zbig contender - here in L. - A. - And I know people are going through their agents to go pitch to Amazon studios like that. - People are following the traditional route of of going and pitching and then signing these - WG A deals with them. - So it kind of makes me it to me. - There's there's still this sort of disparity then between. - Yes, - of course, - Amazon studios wants high, - you know, - they want high quality content that they can make that they so that they can then be a big - contender in these sort of media wars. - So, - to me, - the whole the whole part of what they do, - that's crowd sourced the whole the whole component of it. - That's online and social media based. - First off, - I've been looking through their site. - I don't think they're being very. - I don't think they're very successful. - It seems like whatever community they got at the start felt so abused by their system of - like letting people just it feels awful. - Have someone rewrite your work and butcher it. - And so they basically created. - They created the feast book of Have Someone Butcher Your work is all They Did. - Like I they completely misunderstood the idea of crowdsourcing. - They completely misunderstood the human concept that it comes from, - which is that we understand the hive mind is great. - More minds are better than one. - But they misunderstood that to mean that that art the art doesn't still come from a - singular perspective that I think storytelling is one of those things that, - well, - it's interesting to see what the hive mind can come up with. - So much of a story is a person's unique perspectives. - So if you take away this idea of the one person perspective, - well, - you end up with the kind of movies we see coming out now where if you really do some - research on him, - you see that they had about eight writers in the course of the film. - This is very standard right now that on a big Hollywood studio film they'll have. - They'll buy the screenplay from the person who wrote it, - and it might be great, - like usually when they when they buy something that's already written. - It's like some great screenplay they found from a big film festival or through, - you know, - through submissions. - And then in the course of making that movie, - they will hire on, - you know, - 5 to 8 new writers to do rewrites. - And that's why you end up at the end with what you heard about in, - You know, - if you if you read variety, - if you read the trades, - you'll you'll see you'll be like, - Oh, - yeah, - I remember hearing about how they were gonna make that movie. - It sounded so fascinating. - And then when you see it actually come out, - you're like It is this horrifying Frankenstein of a nothing movie that has no point. - And it's a classic example of too many cooks in the kitchen when that happens, - and I think that that is what the social media component of Amazon Studios is doing. - It's sort of making it so that every movie that they're gonna end up with ends up being the - sort of Frankenstein hybrid. - Um, - so so my suggestion, - Tito, - all of you, - as my students is I think it's worth signing up for Amazon studios, - if for no other reason and to poke around and see what's going on on Amazon Studios because - it is. - It is, - if nothing else, - a harbinger of what's to come. - It. - They are basically the first ones out of the gate, - and that's then that's what's happening Here is the reason why I don't think it's viable - and fair to writers. - Even still, - I don't I Something about it just doesn't quite sit right with me. - Um, - because, - like I said when they launched it, - so much of it was coming from a complete misunderstanding of how good stories get made. - Um, - that, - uh, - I think it's a classic example of because there's been this race.