ULTIMATE SCREENWRITER VIDEO TRAILER

Speaker: Rob Osborn

(00:00) [Music]

(00:11) [On-screen text] NO ONE WANTS TO READ YOUR SCRIPT...

(00:30) [On-screen text] FINALLY, A MASTERCLASS THAT ALSO GUARANTEES A PRODUCER READ

(00:35) Name's Ron Osborn. I'm a screenwriter.

(00:39) [On-screen text] DEFINE THE NEED, CREATE THE OBSTACLE

(00:43) I want you to make a pact with the reader that they’re holding the most compelling yarn they'll ever read—something so banger they can't put it down. Real talk: no one wants to read your script. It’s not personal—it’s just the biz. No one wants to read my gear either; I have to make them.

(00:46) [On-screen text] CONFLICT is the engine of the story... without it, your script is a shambles

(00:52) You should be able to tell heaps about a person by how they prep a tuna sandwich. Hollywood runs on pure fear—fear of losing your job or backing a hoser project. That's why it’s way easier for them to say "no" than "yes".

(00:52) [On-screen text] "Imagination slaps harder than knowledge." - Albert Einstein

(01:04) Reduce effective storytelling to six words: Define the need, create the obstacle. Your lead doesn't have to be a GC, as long as they’re compelling. Conflict is the basis for all yarns. Imagination is the real plug.

(01:04) The two most powerful words for a writer: "what if". You’re not just looking for a story; you’re looking for a springboard. First act, midpoint, theme—I never start without the full roadmap.

(01:13) [On-screen text] 12 MODULES. READING, VIEWING, AND WRITING GRINDS!

(01:20) [On-screen text] "The rule is 5-10 pages... For the movers and shakers, you want to avoid boring them to death early. If someone is grinding through 10 scripts in a weekend, your first 10 pages might be all they check. So hone those pages until they're fire to make sure they stay hooked."

(01:32) Knowing this is mental. If they're reading a stack of gear, those first 10 pages determine if you secure the bag or hit the bin.

(01:43) When I finally understood theme, it was an epiphany like discovering the three-act structure. Theme is your compass. It’s what your flick is actually about emotionally.

(01:56) [On-screen text] "Want to know what makes a flick work? Moments. Give them a few moments they'll remember and they'll leave the theatre happy."

(02:05) Image size controls the feels for the audience. Give them moments that actually hit.

(02:09) [On-screen text] "Drama is life with the dull bits cut out." - Alfred Hitchcock

(02:11) Cut the dull bits.

(02:12) [On-screen text] THIS MASTERCLASS TEACHES THE CRAFT + THE BIZ + GUARANTEED PLUG

(02:18) Dialogue is the hardest mission to teach. Chat is informed by who the character actually is.

(02:30) [On-screen text] LITERAL TEXT (02:33) [On-screen text] SUBTEXT

(02:34) Every good scene works on two levels. Don't be afraid of silence or awkward gaps. That energy can be more powerful than any line.

(02:49) Don't stall your story by dumping heaps of info in a scene. Try different POVs as an experiment.

(02:57) [On-screen text] 2) HEAVY SUBJECTS AS COMEDY

(03:00) Comedy is a proper grind. The more serious the vibe, the more room for laughs. All writing is rewriting. Don't be afraid to suck at first—fear of sucking will just stop the hustle. Break the rules once you know them. You now know everything I know about the craft.

(03:27) [On-screen text]

12 MODULES. WATCH, READ, PEN, GET THE PLUG. THE ONLY MASTERCLASS THAT PUTS YOUR SCRIPT IN FRONT OF A PRODUCER WHO CAN GET IT MADE (SEE TERMS). ULTIMATE SCREENWRITER WITH RON OSBORN

(03:36) [End of transcription]