This workshop covers the following topics:
- Writing a TV Series with the Story-Type Method: Introduction and trends
- Different Types of TV Series (serial, procedural, hybrid, etc)
- Superficial TV Series Design: It's all about Logistical Format
- Underlying TV Series Design: It's all about Dramatic Structure
- Pitching and Developing an Irresistible Bible
- Writing a Compelling Pilot or First Episode
- The Creative Team
- Developing a Plot-Led TV Series
- Case study: Killing Eve (P. Waller-Bridge), Money Heist (A. Pina) or Stranger Things (The Duffer Brothers)
- Developing a Character-Led TV Series
- Case study: Sex Education (L. Nunn) or Breaking Bad (V. Gilligan)
- Developing a Theme-Led Series
- Case Study: Occupied (J. Nesbo, E. Skjoldbjaerg and K. Lund) or Game of Thrones (D. Benioff & D. B. Weiss)
- Developing a TV Series as a Hybrid or an Exception
- Case Study: Fleabag (P. Waller-Bridge), Happy Valley (S. Wainwright), Life in Pieces (J. Adler)
What's in it for you?
Based on Oberg’s innovative Story-Type Method®, this workshop explores the crucial distinction between conventional TV Series formats and the actual story structure lying underneath.
The aim of the workshop is to equip storytellers (writers, directors, producers, showrunners, story editors, development execs) with a detailed understanding of the principles at play in the pitching and development of a TV Series for broadcast or online streaming in the 21st Century.
The workshop puts a strong emphasis on each project reaching the widest possible audience, both at home and abroad, without compromising the storytellers' creative ambition.
Using clips, examples and case studies from recent, successful TV series such as Killing Eve (UK), Breaking Bad (U.S.), Sex Education (U.K.), Occupied (Norway), Game of Thrones (U.S.), Broadchurch (UK), Friends (U.S.), Money Heist (Spain), Fleabag (U.K.), Stranger Things (U.S.), The Returned (France), Happy Valley (U.K.), Life in Pieces (U.S.) and many others we’ll look at the flexible yet powerful tools and techniques needed to master this popular storytelling form.
Finally, we’ll explore how to use this toolbox to create an irresistible bible, a gripping pilot, unforgettable characters and addictive storylines that audiences around the world will want to watch week after week once they’re hooked on the first episode...
ACE - Ateliers du Cinéma Européen (F)
Cologne International Film school - Production department (G)
Cornwall Film (UK)
Creative England (UK)
Ealing Studios (UK)
FAS / Screen Training Ireland (IR)
Film I Väst - SVT - Svenska Filminstitutet (SW)
FilmLab Norge (NW)
Ideal Audience / Kaleo Films (F)
Jim Henson's Creature Shop (UK)
Media Desk Galway (IR)
Medienboard Berlin Brandebourg (G)
Mitteldeutsche MedienForderung (G)
Pipedream Pictures (UK)
Screen West Midlands (UK)
Swedish Film Institute (SW)
UK Film Council - Development Fund (UK)
Zephyr Films (UK)