Whether you are new to screenwriting or just trying to brush up on your skills as a seasoned and professional screenwriter, screenwriting courses can be a blessing or a nightmare. What is the use of taking a screenwriting course only to walk away learning little to nothing after having paid all the fees and time learning about the craft?
While some screenwriting courses are better structured than others, it's the individual teaching the screenwriting course that makes or breaks the students' ability to be successful at their craft - using words to illustrate the story they are wanting to share. There are also different ways to learn screenwriting as each teacher or instructor is different. But they all have a few fundamental flaws in common. These flaws not only ill prepare the students to go out there and woo the showrunners with their talent, they practically enable any bad idea that a student can throw at them in screenwriting workshops (if they even have them). This not only does not do the aspiring screenwriters any favors by not helping them advance their careers, but it also takes away the quality from the screenwriters' work.
I've been to a few screenwriting classes (about half of them are beginner's screenwriting classes) and at first, I did not think of it much, but now that I am older and more wiser, I have to wonder why these screenwriting classes suck so much - factor out the part where I was studying in Los Angeles, California and where I have gained some industry experience, the issues are still prevalent with any beginner's screenwriting course (whether you are charged peanuts to learn or an arm and a leg is besides the point).
The opening question of "why do we watch movies?":
Why do we watch movies? Is that the best these teachers or gurus can come up with? Did their awareness meter drop all the way down to zero when they ask this question? Are they ignorant to the fact that they are teaching a screenwriting class to bunch of people who will be tomorrow's greatest writers? I'd say yes to all of the above.
What they should really be asking is this: "why do we tell stories?" This is the most appropriate question to ask the students because it is most relevant to the class and the subject matter at hand. In his book: Sapiens, author Yuval Noah Harari claims that all human beings are sociable people and that we have a habit of gossiping from Smallville to all the way to Vancouver, British Columbia. When the question about why we tell stories comes up, it will result in a variety of responses being received from the students. The truth of the matter is that students from different backgrounds have different reasons to why they are taking a screenwriters class. Maybe they have stories that they found intriguing that they want to share with the rest of us, or maybe some will simply say that they are only doing it as a means of self expression.
Whatever the reason may be, I would strongly advise against asking the question about watching movies and gravitate towards why we're taking the screenwriting in the first place learning about it. What can happen when this question is asked is the students will be more open to discover their own voices sooner rather than later after everything is said and done in their lives, which by this time, the audience and the industry would have moved on.
Screening movies rather than studying already written scripts:
If you have ever completed a screenwriting class, you will find that the students will be watching the movies that have been finished. Meaning that the final rewrite has already taken place before distribution to the general public. I say final rewrite because editing a film or any content is classified by editors in the industry as the final stages of piecing a story together with all the footage in sequence that is coherent and a natural flowing story that people will (supposedly) enjoy when it is released to them.
What the students should really be doing is getting into the habit of reading screenplays and familiarizing themselves with how effective descriptions are written in the screenplays they are studying. They need to be practicing the craft within the confines of screenwriting school in order to make sure that the quill is in fact mightier than the sword.
When I first started to officially learn screenwriting in 2011, our screenwriting instructor at that time (Mick Curran) was the first screenwriting instructor/teacher to tell us that we need to be using dynamic action verbs in our screenplays. Same goes for directors directing their actors. While he had some great advice, I would say that him showing a movie towards the end of the class was what put a stop to the urge to start writing. It is for this reason that screenwriting teachers and gurus should focus more on getting the students to practice their writing rather than wasting time watching a finished film.
Not challenging mediocre ideas from students:
I'm not sure how many times I've come across a situation where almost 100% of the time when it comes to conceptualization of a film, most students are not even being challenged. I would put forth the notion that this is primarily due to the fact that the teacher or guru teaching the course will suffer backlash from the students or from the higher ups if this screenwriting guru is working for a large educational organization that has set its sights on gaining more students than turning existing students into quality screenwriters. When there is obvious evidence of mediocrity in the ideas been formulated or presented by the students, the screenwriting guru or teacher doesn't challenge their students. They will simply accept that "is the idea, now let's make it a reality". That sort of mentality is not doing the students any favors as all it is doing is pumping out more mediocrity and weak competition in the industry. No one is standing up to the mediocre screenwriters and telling them to "do better". Probing questions need to be asked why the student writer has come up a mediocre idea and if said student writer has done their research and asked themselves whether their idea is a heavily recycled one.
Leaving the student writer to figure out how to write effective descriptions:
While in screenwriting class, the student writer is given a few examples of how to write effective descriptions that leap off the page, but there are no tips offered on how to approach the complex topic of writing it so that the reader is instantaneously compelled (in a good way) to turn the page. There should be a lot more time spent on practicing writing out descriptions effectively and exploring how these descriptions differ from Genre to Genre.
Until this is done, quality of the work put out by screenwriters will be either subpar or non-existent.
Most screenwriting gurus haven't critiqued a screenplay, aren't a reader from the industry or are a produced writer themselves:
Most screenwriting gurus have no idea what a reader will look for in a screenplay, because if there is one thing I did learn about film critics and script readers in the industry is that they are always looking for ways and or reasons to say no to your film or screenplay. They (the critics and script readers) are always on the lookout to find something wrong with the work of the filmmaker or a screenwriter.
I know. For a guy that heavily critiques the critics, I sure have done a complete 180 in supporting them, but no. I am simply affirming from experience, based on the fact that critics in the business do this. In fact, this is one of the reasons why I have started to analyze a critic's feedback or critique to determine whether or not I was receiving, fair, balanced and objective criticism rather than the destructive kind.
What I would love to see in these instances is a stringent code or criteria set by the industry that will keep all the shitty critics and script readers out while seeking out the most genuine ones out there.
Until something changes, it will all remain the same for generations or centuries to come. My passion for screenwriting was realized during the final semester of being in film school. I noticed how I really enjoyed the writing process and how I was looking forward to rewriting it if the story or the characters or anything in the script needed fixing. This is unwavering. What would make it better for the rest of those are aspiring to be screenwriters who would one day end up working in the industry.