The Secrets That Screenwriters Won't Reveal | KAMAL SUCHARAN | Skillshare

The Secrets That Screenwriters Won't Reveal

KAMAL SUCHARAN, Filmmaker at Newlight Cinemas

The Secrets That Screenwriters Won't Reveal

KAMAL SUCHARAN, Filmmaker at Newlight Cinemas

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13 Lessons (33m)
    • 1. Promo

      0:53
    • 2. Introduction

      1:15
    • 3. Catharsis

      3:21
    • 4. Delay the Gratification

      2:58
    • 5. Exposition

      2:23
    • 6. On the nose Dialogue

      2:16
    • 7. Subtext

      2:31
    • 8. Cause and Effect

      2:17
    • 9. Anticipation with Uncertainty

      3:07
    • 10. Set up and pay off

      2:24
    • 11. Creating Suspense

      5:04
    • 12. Comic Premise

      3:31
    • 13. Conclusion

      0:40
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About This Class

Ernest Hemingway once said, "There is nothing to writing. All you do is sit down at a typewriter and bleed".

The quote sums up the task of writing. In writing career, we have reached the depths of despair many times. However never ever after learning the craft of storytelling. Our conscious pain led us to explore the depths of craft. And here we are now - equipped with lots of secrets and techniques in telling better stories and ready to share with you.

In this course, we have dealt with commonly used techniques by all the screenwriters of the world. You will learn all those secrets and can effortlessly incorporate in your stories. Many insights from master storytellers, wisdom from great books, examples that you love, secret recipes of classic films - all are consciously and deliberately selected to make it easy for you.

You will see the spectacular difference in your writing after taking this course. Rest assured. Join us with the journey and welcome to Newlight Family. You will never regret.

Meet Your Teacher

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KAMAL SUCHARAN

Filmmaker at Newlight Cinemas

Teacher

Kamal Sucharan Burri is a Filmmaker, writer, instructor and entrepreneur. With teaching experience of over 8 years, he is pursuing Ph. D., on Storytelling Dynamics. He teaches communication, film production, TV production, screenwriting and other soft skills as a Visiting professor in various Universities and Colleges in India.

He is also the founding Director of Newlight Cinemas, a film Production Company striving to carve niche with sensible storytelling.

He staunchly believes that storytelling can change the world and always aims to do so.

See full profile

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Transcripts

1. Promo: welcome to a new course, the secrets that screenwriters want to know them to write your old story. And first of all, I should thank you for patronizing those for the last three courses. We're grateful for that. I think this course I'm going to be all the secrets that's usually followed while writing With almost a decade of craft stealing, we have come up with lots of secrets so long to this course to know the secrets and the details of great storytelling. 2. Introduction: Hi. Welcome to the cops The secrets that screenwriters won't be no them to write a own story. I'm commercial Turnberry filmmaker on an instructor at new like cinemas I've been teaching phylum since 90 years in various colleges and universities across India. My passion is to know the secrets of great storytelling because I want to tell great stories. It's as simple as that. I'm going to divide this course into 10 listens in 10 lessons. I'm going to discuss about all the secrets that screenwriters won't usually reveal toe hold that audience, for example. They are catalysis, delaying identification, explosion, subtext, Exeter and Exeter. Wanting to remind you is that all the techniques are the secrets that I'm going to discuss in the scores are just principles, not rules. So apply them at your will, experiment with them and use them accordingly to tell your own great story. So guys hop on, come with me and learn all the secrets that screen there does usually don't way. Just tell your own great story 3. Catharsis : Hi. Oh, welcome to the course. Let us start with the first Listen, catalysis. Sorry. The first secret analysis The word catharsis is derived from the Greek language and is mentioned for the first time in the book politics written by our Started. And I suggest every aspirin screenwriter to read that book. It is a treasure for screenwriters Toe Hold your audience. Coming to the definition of a tacis statuses is nothing but a thief. Purification off emotions through allocation off pity and fear. It is simply cleansing off the emotions toe make it much more easier for you. Qatar asses is the moment in a film where you experience your emotions deeply and truly whenever you can. Whenever you feel the emotions deeply, whenever you feel pity for the character in that particular story, that is a cathartic moment. Screenwriters carefully planned the cathartic moments for the audience to experience while watching the Philip. So I insist you to plan as many cathartic moments in your story toe. Make your audience experience the emotion off the characters and for the characters, make your characters feel. Make your character's kind, make your character's experience the intensity of emotions while carrying on with the story . Doc makes a lot of cathartic moments for the audience to feel and experience the same pain that the characters are experiencing in the story to explain you in a precise way. I'm going to give you two examples off passes The First Twenties so shank redemption in social redemption when Andy, the protagonist, finally escaped from the prison, we feel for him because we're being routing his pain since the beginning of the film and its struggle to come out of the prison once he finally makes it. They obviously feel the cathartic moment, because Andy is also experiencing the same in that particular story. That is the reason why I think redemption. He's one of the best stories ever in this job. Senator, coming to the next example. The Felonies, Dead Poets Society. Whenever I want this particular scene, I tend to get emotional. I cry sometimes, too, because that is the biggest, cathartic moment in the Philip in this particular moment, when the lecture John Keating is trying to leave the school, I mean Robin billions when it's trying to leave the school. All the students paid tribute to him by standing on the desk reciting O Captain, my captain, I'll explain why disease? The cathartic moment. Indiscipline, being watching John Keating's to struggle to make the students stand out of the cow with Stickley imposed rules and regulations when finally, his rooster from the school. Obviously, we tend to feel sorry for him. But when the students recognize his efforts and stand on the bench and preside O Captain, my captain, that is a big biscuit Arctic moment. I feel whenever I watch this particular scene and it is profoundly back food. 4. Delay the Gratification : so the next lesson is delaying the gratification. So, you know, explain war dealing. The gratification is let us go back to the previous listened Tacis. In order to make the Qatar assists more impactful, you need the next secret delaying the gratification. Let me explain. What is that? Dealing the gratification is nothing back. All you need to do is you just promised action and dialect so that the audience anticipate when that action will get fulfilled and they wait for that as long as they wait. You can hold audience type in her own story while writing your own story, have a promising action, our actions and deleted actions. That means the audience will wait as long as you reveal that particular action movement so simply promised action on delayed that is called delaying the gratification. You may ask the reason why dealing the gratification is important in writing a story. Let me explain. There are two elements called surprise and suspense. Suspense is holding the audience still a particular point, whereas surprise is eruption of emotion in an instant off course, Surprise is efficient at particular times, but suspends will hold audience much more longer, and they'll resort to that particular moment when the suspense is finally revealed. Just remember, delaying the gratification is nothing but promised action and the late to prove my point. I'll give an example from the recent Netflix blockbuster Stranger Things in Stranger Things , Season one will buy Us is lost on We Know that ultimately will buy us. We'll be back to his home again. But wait for that particular woman until it returns back to this hole. Which means they're all this spin writer. Clever people are delaying gratification moment in the Episode one and let us wait for the last episode. Still, real buyers gets back to his home that is called the Building of Gratification. Another example is also from the stranger things in the season. One. We know that evil is haunting the town of pockets, and we don't know what they even actually is. And the wait until a epistle to finally reveal all see the demagoguery. And that is the clever, plotted, delaying the gratification woman by the screenwriters for us, which means they promise that certain evil is haunting pockets, but they don't live in at the delay dealing delayed until finally sort comes. So obviously will wait to watch the Morgan till the last steps 5. Exposition : welcome to the next listen. Exposition Explosion is nothing but a comprehensible description for exploration off a character story, sitting or in action. It is a brilliant technique, useful speak like this all over the world to let the audience know the world of the story. Put it in a simple way. Explosion is all the relevant information needed for the audience to get a must or involved in the story. It's as simple as that, but there is a problem. That explosion. If you use the explosion too much, the audience might get lost in the story because in explosion there won't be any conflict and any time. So you can't sustain the audience for much a long time without conflict and drama, so used explosion in a limited manner. And immediately we want to the conflict so that the order will get hope in our story. Why using explosion music in a very limited way to let the audience enjoy the story. And there is also a problem if you don't use the explosion. If you don't use the explosion, audience won't get accustomed to the characters. Action the setting of the story so there won't be able so they won't be able to enjoy the emotions are the experiences off the characters in that story. So make sure you use the explosion a very limited way and never, ever completely disregard the importance of explosion in your story. Master storytellers incorporate conflict even in the explosion. It is a brilliant technique that is used by all the skinned itis. So while using the conflict exposed the characters setting and the end of the story so that the audience won't get bored in your story and violating the explosion, causing yourself whether this information is needed for the audience or not, whether this character behavior is intended to be like this. If yes, goat explosion. If not, there is no point in using the explosion. So being a screenplay writer or the perfect master storyteller, it is to find the swing balance between went to use. Explosion will not be used. Explosion 6. On the nose Dialogue : welcome to the next listen. Auntie knows day lock. The film is basically a visual medium. The importance of dialogue should never be neglected back. There are certain tips to use that I lock in your film, which I'll discuss now on the nose. Dialogue is nothing back. The little dialogue occurred by the car. The little dialogue may not always work in the flip, because the character in the film should never say what it really feels back. That should be conveyed in the form off subtext which have discussed in the previous listen . So on the nose dialogue never works in the flip. In his famous book Dialogue, Robert Mackey say's all speech is an outward execution off interaction. Every line off character talk, the lighter must create a desire, intent and action, which means the dialogue is not for the sake off yesterday. Look, if a character in your story or flip that does the dialogue, it should indicate their intent, desire or action. I should bring out the difference between the theatre and cinema in the context of the dialogue. Basically, the editor is an artery medium. It is intended for the audience to listen more than to watch. But filin entirely reverses step Film is intended for the audience to watch more and listen less. However, the dialogue is not subdued in the Philip. Let me do an example. Cipel's If I visit my friend's house while he's having coffee. If I greet him saying, Oh, we're having a coffee that is a stupid dialogue because it is on the no stay lab or little daily but however considered the same scene when I visit my friend's house while is having coffee, and I mixed poison in that particular coffee. If I say Oh, you're having a coffee, then obviously that dialogue has hidden, meaning that they're just little meaning. So that is how you should avoid the on the nose dialogue and use our incorporate subtext in your dialogue so that it will make the scene trusting 7. Subtext : welcome to the next. Listen, subtext. Before going deep into the subject, let me start like this. Phylum is basically a visual medium. Unlike normal, most of the feelings emotions are conveyed provisionals, and for that visuals to be impactful, we need subtext. Subtext is nothing but the unintended unset and the hidden meaning to be precise subtext, ease on intended meaning or hidden meaning that you don't actually, really. But this country DeLoreans indirectly through emotion, visual or in subjects can be used in a number of ways. In your screenplay, sometimes it's optics can be a dialogue where the character actors the other dialogue. But the actual meaning is something, and sometimes the suppress can be a visual, and sometimes the acceptance can be an emotion. The basic rule is you have to convey the hidden meaning in subtext. It's acid. Bless that. Let me explain why this technique off subtext always work in the phylum or its story. In real life, we rarely reveal our intelligence, and we mask ourselves completely toe Haider intentions, and that is a daily business. Hence, if the characters in the film or a story do the same means hiding the intentions nor dream the intentions and not being vulnerable. We obviously get connected the characters or the actions or the story. It's ass implants that because the always mass castles and never, ever living our intentions always, truly and completely. Let me give an example. It's from the phylum, an equal written and directed by Woody Allen himself. In this film, there is a particular scene when the character Alby Single, played by revealing himself, gets a call from his panicking ex girlfriend about despite ER in the battle, he immediately the sister of Bliss. The subtext theories it's not about despite her. It's not about the spider creating cows and about, but the line between the two. Every single and Annie Hall still love each other, but, however, due to the circumstances they packed with each other, the scene wonderfully works out because the subtext in this particular scene is love, and he's opening beautifully by using despite in the bottle 8. Cause and Effect : welcome to the next. Listen, cause and effect. Let me start the sentence like this King died. And the green light? There is no connection right back. If I say the same sentence with King died because of grief green type, there is a connection. That connection is simply called cause and effect. In other words, it's also known as the plot. So a block is a sequin. She'll cause and effect cities of sequences. In a story I repeat, a plot is the city's off sequential connections off cause and effect in historic while writing your screenplay, trying to incorporate cause and effect sequences in your story. Then obviously audience will find the logic and will root for the characters. Let me explain you why this technique works and it works always because the world is built on this border because and the effect as you already know the famous quote. If I sting for every action, there is an equal and opposite reaction. It applies for your screenplay and your story toe. If you fail to employ this technique because in effect the audience will never understand the logic behind the characters actions. So obviously they don't root for the characters and then ended the end of the day. They don't root for this story. It's simple. If you forget to give the audience the cause and effect for the characters or story, audience will never carefully. So make sure your blood this technique and give the characters and the story in life. Let me give you an example. Take the phylum control in that film, Pull loves roomful and because off that cause the effect is he goes to the lack of water even. And if we consider the Dragon Warrior even is the cause and the effect ease, he gets selected accidentally as the Dragon Warrior. And if we take the selection of the Dragon Warrior as the cause, the effect ease. He gets to fight with Tyler and the list goes on, and this technique is brilliantly used by spin doctors off the Philip 9. Anticipation with Uncertainty: Welcome to the next listen. Anticipation with uncertainty. This phrase was first used by Alexander McKendrick in his famous book on filmmaking, and I suggest this book for all the filmmaking aspirants to explain this technique. It is very simple. It is the technique that makes your audience glued to the seats on helps them to watch the film tell the completion to go into the deep explanation. Let me start with the question. Why do we watch fillets? We watch films to see what's going to happen next. That means, if the scenes that rippin asked for your expectations. Obviously you don't get interest in watching that film. But if the scenes are completely filled with cows and conflicts, obviously you wait till all the conflicts get resolved. At the end of the story. That is nothing but anticipation with uncertainty, which means let audience anticipate what's happening next. And being a filmmaker or its screenwriter exactly. Give them the opposite so that they so that they will be astonished and watch the phylum till the end. So when you're writing your screenplay, make sure that the audience would anticipate something, and being a screenwriter exactly gives them the opposite. It is the secret ingredient to make your story interesting. But while employing things, technique off anticipation with answer eternity, you shouldn't and ever miss the logic in order to create Thea. Answer to Nitties. If you miss the logic the audience will never root, for. The characters are the actions than by the characters. At the end of the day, they lose interest, so make sure while employing this technique, you should also have the logic behind it. Learn more about this technique. Browse the tech talk by Andrew Stanton, the director off fixer Who, Director Finding Nemo 10,000 BC extra. And for your reference, the link is provided below. Let me end the listen with an example from finding me in one particular scene. When the Father Marlin finally reaches the Sydney in search of his son Nemo, the memo won't be dead. And when Marlon loses hope, so are we. Finally, he gets to find Nemo with the help of a jury. Soon after he finds The Nemo Nemo again, get Scott Internet and the list goes on. Finding Nemo is full of beautiful anticipation, with antiquity movements toward the phylum like story, forgetting everything fish trapped in the aquarium, and there were still shots. Lots of examples have been finding more to establish this technique on suspicion with the answer Eternity, which is directed by Andrew Stanton. 10. Set up and pay off: coming to the next lesson, set up and pay off, and this is one of my favorite techniques I use while writing my stories off screen. This let me explain this set up and Wolf is nothing back setting up the information prior in the screenplay and paint off later. It's also known as connecting the loose ends. Let me demonstrate how it can be done. First of all, plant the information that is a little to the characters are the actions to the audience and let them, which it's okay to keep the audience confused for a moment or for about a couple of time and cleverly payoff that loosens at the end of the village. Audience will love you for that. In the previous listen, the catharsis were discussed. That catalysis is nothing back. The positive emotions are the cleansing of emotions. The reason why I'm taking this point is the payoff movement in the phylum is also the cathartic moment. That means the audience will feel the emotions at the end of the payoff moment, so the endpoint of payoff movement is nothing but Patasse's. There is a philosophical perspective why this technique always works. For example, in our lives. There are a lot off unexpected and unexplained events happened, but we don't know the answers get back at a later point of time. That means after two years are off the five years we tend to get dances. That means the set of built off technique is beautifully played in our lives, too. Hence, it's also the brilliant technique that can be used in the films because film is nothing but a Madoff off life. Let me give you an example In the latest Netflix blockbuster, Stranger Things, Season two, there are a lot off haunted cousins that are not revealed at the beginning of the season. But all the answers and the conflicts are resolved at the end of the season. The questions like why the pumpkins are getting infected? What happened to my buddy Holly and what happened to read by us? All these questions remain unanswered. At the beginning of the season, back steel directors heavily results all the conflicts bythe 11. Creating Suspense : welcome to the next year, creating the suspense. There is a misconception that suspense is the element that can be used only for horror, said Phyllis Back. Creating suspense is an essential part of drama, which can be used in any kind of job, their second elements to create the suspects. So while writing your story, don't worry about the job. Play these techniques or these elements into your story to create the suspects. Because suspends creates drama, drama clears interest among the audience. There are five elements that can be used in creating suspects. Number one fear of the unknown and Number two Limited appoint a few and number three create the Light City number four. Dramatic irony and number five cliffhanger Real. Discuss each of these elements in detail to get the idea off, creating suspense in your story. Coming to the first element in creating the suspense, it is the fear of the unknown. It is nothing, but you send the consent of the audience and delayed answer. Obviously, audience will wait until the conflict gets result. For example, while watching stories are films, you may get questions like What's there inside the measure and what is the rich that is haunting the town. Will the couple end up together at the climax? And what is Demo Gorgon? Watching the town? Hawkins. These air certain questions that can be used brilliantly by using this technique called Fear of the Unknown, so that you can anticipate the interests of the audience further in the film. Coming to the next element in creating the suspense, limiting the point off you the mark off a great writer is to have a few characters knowing them in and out. That means you have to learn all the back stories and the conflicts and the shoes off that . But look at it and played with those characters in that story. If you have too many characters, the audience will get confused. So limit the point off you have. The few characters have the limited settings so that it'll engaged audience in a very brilliant the third element in creating the suspense ease, Choose the light. Second means every story should have a particular setting in order to work. That means I'll give a few examples if you take the Netflix Long was two cities. Riverdale. The entire story happens in the town called dividend. The characters are from Riverdale, and actions and the conflicts happen inside Today means the director or writer choose that life setting so that the audience will get accustomed to the world and family with the characters. And similarly, to take another example, stranger things that I'm setting and the single stating is the town called Hawkins on the entire story, walls around the problems and conflicts inside the Hawkins. Similarly, if you take elder Netflix series starting billions, why it also the world's at one particular town, So choosing that life sitting is the light aspect in creating suspense and hold the audience 1,000,000,000 t coming to the next element in creating the suspense. It is dramatic irony. Dramatic irony is nothing but revealing the secret to the audience, but not the characters inside historic in order to know in detail about dramatic irony, I've spoken about dramatic Carney in my previous course, boots off screen that if you want, you can lower to that course and coming to the examples of dramatic irony. Remember that Mr is not about what will happen to the characters, but Mr is all about when and when and how the characters will learn in that particular story. So, you know, to create the suspense, create the dramatic irony and reveal the secret to the audience, but not to the characters and audience will obviously weight. When the characters will learn the secret in that particular story, the last element in creating a suspense is cliffhanger. Cliffhanger is nothing but leaving the audience in a dope ordinance. Husbands. At the end of the chapter episode this season, this technique is employed by all the screenwriters usually especially in the division series. In the films, I can give you lots of examples in Netflix Blockbuster Stranger Things Every episode answer . The cliffhanger living audience in the Suspects on every season ends with bigger cliffhanger, leaving the audience in much more suspense so that they can wait till the next Philip coming to the Indian films. I'll give you an example from recent Indian blockbuster barbell. In that picture, the Cave Hungary's Why Cut Apart killed Barbara. Obviously, every Indian waited for the second part, and you all know that second part is also smashing so stupid 12. Comic Premise : welcome to the next listen, comic opera mice Comedy is an essential form off entertainment, but creating comedy is not an easy task in this. Listen, I'll just give you the introduction on have to create a comedy. I have plans to create a separate course on creating comedy and have to be funny. In his famous book Hidden Boots Off Comedy, Steve Kaplan says comedy is art of telling truth about what it's like to be human. I refer this famous book Didn't Boots Off Comedy by Steve Kaplan toe every amateur writer who wants to create comedy because creating comedy is not an easy task. In this book, he says, one has to know the difference between the comedy and funny funny is subject to, whereas comedy is you. Listen, for example, if I move the keys in front of a total er, obviously he or she loves. But that is not funny to me. But if you observe the Charlie Chaplin being stuck in the lion's cage in the fill in the circus, obviously everyone loves that is the comedy. So being a writer, you have to know the difference between being comedy and being funny. Funny never works, and it's subjective. But comedy always works, and it's universal. So creating comedy is simple. Tell the truth about human nature and show them what it's like to be human. Our idiosyncrasies at stupid ideologies as to be tarts are funny moments. Leave nothing and show everything. If you show that group on, give the character stuck in the truth. Obviously, that character or the story gender, it's lost in order to create a comedy. No, the human suffering, no the sufferings of the character and put those moments in lighter way, obviously, that genders more loves to. Dorian's one distinction between the drama and the comedy is this drama believes in the perfection of the mankind, where US comedy place around the imperfections of the man. It's as simple as that. So you know, to be a drama in your character to achieve the perfect state. Why, you know, create the comic Prum eyes. Have you're in perfect character in the extraordinary situation and all those stupid deeds gendered selloffs. Let me give you some examples. If we take control. Panda fact. Big and chubby panda becomes attacking. Body means Theo, incompetent hero trying to be the competent creates a compromise. Come in the next example in the Filling the Circus, the ugly tramp chaplain who knows nothing about circles, joins the circus in order with his girlfriend. And the comic minds is simple. The incompetent hero in extraordinary situation where he knows nothing, Also quoting from the recent Netflix blockbuster The Good Place. Nor shall stop the BOT character accidently ends up in the book place in her struggles. Hurry, you're single sees her conflicts for my beautiful, comically mice. So while creating a comic reminds learn about the human suffering and incorporate that human suffering into characters and put all those moments in the light of day, it creates love and discovery for everybody. 13. Conclusion: hope you enjoyed this course. I've discussed lots of techniques in order to make your story interesting. I request you globes up all these techniques in the flimsy watch on. Also, incorporate all these techniques in the stories you write. Definitely, this would make a difference. And for the next course, I'll be coming up with how to write a love story. Basically the techniques we learned vile writing Island romantic comedy. I've come up with a 1,000,000,000 techniques to make your last story interesting. So stay Pune and log on to our next course also. Thank you.