
I have divided the classes into three parts:
1) the aspects common to all characters, 2) the aspects specific to each character, and 3) the modus operandi of creating a compelling story from scratch. In this first part of the series, we take a helicopter view on the art of storytelling — we are looking at the playing field, and its contestants, from above.
Welcome to the first part — aspects common to all characters!
Questions and Tip
Questions:
What do I consider to be true about the world and human behaviour?
What do I consider important to remind myself and those around me?
What advice would I give my children (if I had any) that could help them live as good a life as possible?
What would I like to teach myself? What can and do I want to get better at? What could I learn that could help me live a better life?
Tip:
Surf sites with quotes. Collect some that fit. Print them out and put them on the wall.
Let them be your compass course in scriptwriting (and production).
The story does not take place on the screen, stage or paper — but in the audience's heads, hearts and bodies.
A story that does not create any kind of intellectual, emotional or physical response in the audience — that’s a dead story.
Questions:
The story can mix genres — but is it mainly drama or comedy? Is our goal mainly for the audience to laugh, cry or bite their nails?
How do we hope the story will affect the audience intellectually, emotionally and physically? During and after?
Find your own Doris. Study her when she sees your movie.
How does she react? What kind of experiences does your film give her that she cannot have in her own life? What do you hope she gains from watching your movie? What do you think she's missing out on, if she does not see it?
Tip: Study Pixar's 22 Rules of Storytelling
Questions:
What stories or existing phenomena are similar to this story?
Tip:
Create a playlist on Spotify, where you upload movie music — or other music — that has the same emotional tonality you want for your film.
Do what the advertising industry calls a “moodboard”: a physical or digital collage, with images from movies or something else, which is similar to the tonality — the “mood” — you want your film to have.
Chapter 4: Problem Questions:
Questions:
What are the character's overall desires?
In what way are these linked to each other?
In what way are these mutually exclusive — in what way are these in conflict with each other?
Testing
Welcome to the art of storytelling!
My name is Fredrik Hiller, and I have been a writer, director and actor for almost three decades. My ambition is to provide you with all the principles and techniques you need to create compelling stories. This class is primarily geared towards cinematic storytelling, but the principles and techniques presented here can just as easily be applied to writing plays or literature. My hope is that you, after completing this series, will see that creating compelling stories is not achieved by luck or magic — but, instead, by tangible and specific principles and methods, all of which you will learn in this class. The board game Othello boasts the slogan “one minute to learn, a lifetime to master”. I would never propose that the principles of storytelling only take a minute to learn — but you will find that the principles of storytelling are simple, clear and concise. Learning to employ them masterfully, however — that does take a lifetime.
I have divided the entire course into three parts: 1) the aspects common to all characters, 2) the aspects specific to each character, and 3) the modus operandi of creating a compelling story from scratch. In this first part of the series, we take a helicopter view on the art of storytelling — we are looking at the playing field, and its contestants, from above.
Welcome to the first part — aspects common to all characters!
All our classes include:
Lesson material
Questions and tip
Chapter exams
Helpful links
Rich video clips