Jennifer Dornbush - 11 Crime Story Types For Thriller, Procedural, and Crime Drama Content Creators
Who doesn’t love a great crime story or thriller? Turn on the TV, cable, or streaming channel anytime of the day or night and you will find a crime program to watch. Our thirst for crime dramas is almost insatiable. Crime is a hot seller both in domestically and in foreign markets. Become aware of the 11 crime story types and which ones are the best fit for your next binge-worthy project!
Danny Manus - The 5 C's Every Pitch Needs
Other than writing a great script, pitching is the most important skill a writer needs to master to have a long-term career. We'll go through the 5 C's every pitch must contain to be successful - Context, Concept, Characters, Conflict, and Confidence. How to use these C's to structure your pitch, powerfully convey your story, and why you're the best writer to write it. We'll cover what each of these C's entail, how much detail to give, choosing the right comps for your story, and we'll even take a couple sample pitches!
Dara Marks - Getting To The Gold
While most films today are virtually overloaded with imaginative ideas that are skillfully designed to excite, thrill and tantalize, they are also surprisingly uninspiring and exceptionally forgettable. What’s missing in too many modern stories is that intangible element that connects the life of the characters to the lives of those in the audience. This missing connection is there for the discovery if the writer is willing to first seek it within. While this can feel like a daunting task, it is made easier with some essential techniques that will enhance your ability to bring stories fully to life.
Alan Watt - The Hero's Dilemma
Many writing books talk about the protagonist's dramatic problem. In fact, your hero doesn't have a problem...he/she has a dilemma. Here's the difference: problems are solved, while dilemmas are resolved through a shift in perception. Since the purpose of story is to reveal a transformation, and as Einstein says, "you can't solve a problem at the same level of consciousness that created the problem," focusing on solving your protagonist's 'dramatic problem' may be the reason you are stuck in Act Two. In this brief talk I will illustrate how identifying and connecting to your protagonist's dilemma, and finally, resolving it, will help you to crack your Third Act wide open, and to write an ending that is both surprising and utterly inevitable.