Tec Scriptwriting Workshop
Congratulations on being selected for the workshop!
Payment can be made either in one lump sum upfront or in three installments of $300 now, $300 due January 1, 2018 and $300 due February 1, 2018.
Click here to submit your second or third installments of $300 each. (Due: Jan. 1, 2018 and Feb. 1, 2018)
Below is some descriptive language you may have already seen about the workshop.
You're at the point in your career where you know your craft. You know what you're about as a writer.
And yet, you often find yourself feeling rushed and anxious about having the time and the tools necessary to confidently bring your script up to its most irresistibly brilliant form. Most of the time you wish you could feel more certain of the completeness of each new baby before sending them out into the world.
Readings and workshops are lovely. They serve their purpose in the life of a new play or screenplay. But talk-backs can be confusing and if you're not careful you may find yourself removing everything essential at the core of your play as you pursue some strongly asserted theory of its proper form proposed to you by well-meaning artistic staff (directors, dramaturges, producers) who are smart people who may honestly love you and your work and want very much to help you make it better but may not be writers themselves.
What you need most is a safe circle of experienced scriptwriters to offer you some fresh perspective and help pinpoint those places in your manuscript where you might be unwittingly shooting yourself in the foot through some of your choices.
When you participate fully in a group of creative peers, focusing concentrated attention on everyone's pages, you're being handed a rare opportunity to get to the bottom of what might be ailing your work with a new eye and with new precision. The kind of work we can do together happens at the most granular level, writer to writer.
How we'll work
I like to combine short targeted exercises with a close examination of one full-length play or screenplay you'd like to complete by the time we wrap up in early May. I include the short exercises in large part as a means of speeding up our process of getting to know one another as writers. I think it's essential that before you seek out constructive criticism from your fellow writers you'd best be sure those folks who are offering comment are doing so from a place of clear appreciation of what makes you tick as an artist.
In reviewing your submitted materials I'll work to assemble a group best constructed to be mutually beneficial and productive.
We will meet for 11 sessions. The sessions will be scheduled once the group is chosen and due to our small size (no more than 8) we should be able to put together a schedule that works for everyone. The group will never meet more than twice in one month. All workshop members will be expected to have read each other's work prior to each session. For that reason we'll have to stick to some strict deadlines for uploading pages a few days before each online meeting. We'll use Dropbox, an easy-to-use secure online storage system for sharing our work with each other.
We will meet online via Zoom. Zoom requires only a web browser and a webcam. I do recommend investing in a $15 headset to ensure audio quality. Each session will run 2 hours.
Results you can expect to walk away with
High-quality polished full-Length play or screenplay
By the end of our six months together you will have a polished draft of a full-length that you feel confident has reached a new level of cohesion and appeal that may not have been attainable on your own or with only the advice of your director, dramaturge or producers.
Stronger Creative Network
By the time we say goodbye you will have made at least one new and important friendship with a peer that you can lean on for ongoing support in your career. The job of re-tilling the soil of our creative support network is never done. I'm not the same writer I was 20 years ago. And chances are, neither are the two or three friends who were my sounding boards when I was just starting out in my career. That's not to say we should abandon these relationships. It's just that there's much to gain from periodically shaking things up a bit. The online forum also offers us a forum in which to forge relationships with working writers from other parts of the country or the world.
Remember that electricity you felt in college or grad school, particularly when you were taking a writing seminar? There's something so inspiring about immersing ourselves in a tiny community of creative people who are tackling similar challenges to our own.
Playwrights and Screenwriters in the same room? Are you sure that's a good idea?
A quick word about combining screenwriters and playwrights in the same workshop. There's no doubt about it. Excellent film requires smart and honest dialogue just as first-rate theatre demands a strong intuitive grasp of the visual aspect of theatrical storytelling. That's why it's to everyone's advantage to bring screenwriters (for whom visual storytelling is second-nature) together with playwrights (who can spot a false lick of dialogue a mile away). This mixing will encourage you to exercise some muscles you might be hard-wired to overlook, if left to your own devices.
Praise for Roland Tec's Teaching:
Roland Tec taught a Self-Production Boot Camp to about 40 members of our theatre community, young, old, and mid-career. It was smart, direct, helpful, and focused on the needs of the students. I think he's a wonderful man, a great theatre person, who knows what he's talking about, and just incidentally, he's able to bring out even the shyest in the room, so all participate fully. Can't go wrong with him!
-Julie Jensen, author of Two-Headed and White Money.
It’s obvious from the beginning how funny, unassuming, and utterly charming Roland is—someone you look forward to spending time with. His humor is never cruel. He creates a sense of community among his students, even in an online class. He’s obviously been teaching and thinking about teaching for many years. Immediately apparent, too, is the diligence with which he responds to questions outside of class. What becomes clear more gradually is that he’s one of the smartest people you’ll ever meet. His knowledge is stunning. ... Class with Roland is exceptional.
-Stuart Greenman, author of Silence, Cunning, Exile