Professional Writing &

Filmmaking
Complete 8-Month Course Plan

Writing Track • Filmmaking Track • Tools & Resources

4 Phases 2 Parallel Tracks 20+ Topics 4 Milestones

Foundation → Portfolio Writing + Filmmaking Writing & Film Deliverables
 Table of Contents

Course Overview & Phase Map 3

Section 1: Writing Curriculum 4
Grammar & Style Foundations 4
Freewriting & Daily Practice 4
Narrative Structure 5
Dialogue & Scene Writing 5
Screenwriting Format 5
Character Development 6
Longform Journalism & Essays 6
Workshopping & Peer Critique 6
Feature Screenplay Structure 7
Pitching & Submission 7
Portfolio & Writing Career 7
Section 2: Filmmaking Curriculum 8
Visual Storytelling 8
Camera & Exposure Basics 8
Cinematography & Shot Types 9
Lighting Fundamentals 9
Audio & Location Sound 9
Editing & Post-Production 10
Directing Actors 10
Pre-Production & Storyboarding 10
Colour Grading 11
Sound Design & Music 11
Film Festivals & Distribution 11
Portfolio & Director's Reel 12
Section 3: Tools & Resources 13
Section 4: Phase Milestones 15

Professional Writing & Filmmaking — 8-Month Course Plan Page 2

 Course Overview — Phase Map

Phase Duration Writing Focus Filmmaking Focus

1 — Foundation Months 1–2 Grammar, style, freewriting, reading widely Visual storytelling, camera basics, watching great films

2 — Core Skills Months 2–4 Narrative structure, dialogue, screenwriting format

Cinematography, lighting, audio, editing

3 — Deepening Months 4–6 Character, longform, feature structure, workshop

Directing actors, pre-production, colour, sound design

4 — Portfolio Months 6–8 Pitching, submission, career strategy Festival strategy, DCP, reel, online presence

Both tracks run in parallel. Writing and filmmaking are taught simultaneously because they reinforce each other:
screenwriting improves directing, visual thinking improves prose. Dedicate roughly equal weekly time to each track.

Professional Writing & Filmmaking — 8-Month Course Plan Page 3

 Section 1 — Writing Curriculum

The writing curriculum moves from technical foundations through creative craft to professional industry skills. Each
topic builds on the previous — do not skip ahead. The goal by Month 8 is a polished, submittable short screenplay
and a personal writing portfolio.

Grammar & style foundations

Phase 1 — Months 1–2

The bedrock of all writing. You learn to write clearly before you learn to write beautifully. This includes sentence
structure, punctuation, active vs passive voice, and how word choice shapes meaning and tone. Study Strunk &
White and On Writing Well as your primary references.
Syntax | Voice | Clarity | Concision | Active vs passive | Punctuation

Freewriting & daily practice

Phase 1 — Months 1–2

Writing 500+ words daily without editing trains your brain to generate ideas freely. Journaling, morning pages (from
The Artist's Way by Julia Cameron), and timed writing exercises build the habit that sustains a writing career.
Consistency beats intensity.
Morning pages | Timed prompts | Journaling | 500 words/day

Narrative structure

Phase 2 — Months 2–4

Every compelling story follows a structural logic. The three-act structure divides a story into setup, confrontation,
and resolution. The hero's journey (Campbell) describes the mythic pattern underlying most stories. The Save the
Cat beat sheet (Snyder) maps 15 specific story moments. These are tools for understanding why stories work, not
rigid formulas.
Three-act structure | Hero's journey | Beat sheets | Subplots | Midpoint

Dialogue & scene writing

Phase 2 — Months 2–4

Great dialogue does three things at once: reveals character, advances plot, and creates subtext. Subtext is what
characters mean but don't say — the tension beneath the words. Scene writing teaches you to show rather than
tell: to dramatize moments instead of summarising them. Every scene needs an entrance (what is wanted), an
obstacle, and an exit (what changed).
Subtext | Conflict | Show don't tell | Scene structure | Stage direction

Professional Writing & Filmmaking — 8-Month Course Plan Page 4

 Screenwriting format

Phase 2 — Months 2–4

Screenplays follow a precise industry format: 12-point Courier font, specific margins, slug lines (INT. COFFEE
SHOP — DAY), action lines written in present tense, and character cues centred above dialogue. One formatted
page equals roughly one minute of screen time. Industry-standard software (Fade In, Final Draft) handles this
automatically.
Slug lines | Action lines | Courier 12pt | Fade In | Final Draft | 1 page = 1 min

Character development

Phase 3 — Months 4–6

Characters with a want (external goal), a need (internal truth they resist accepting), and a flaw (what holds them
back) feel real. A character arc tracks how they change — or deliberately resist changing — under pressure.
Backstory informs character but rarely appears on the page. Study: Chinatown (no arc), Casablanca (full arc),
Breaking Bad (dark arc).
Want vs need | Character arc | Backstory | Flaw | Ghost | Wound

Longform journalism & essays

Phase 3 — Months 4–6

Non-fiction narrative writing uses the tools of fiction — scene, character, tension — applied to real events. The
personal essay has a thesis, evidence, and a distinct voice. Journalism adds reporting, sourcing, and verification.
Read: The New Yorker, The Atlantic, and [Link] for models. Study Gay Talese, Joan Didion, and David
Grann.
Voice | Thesis | Sourcing | Reporting | Scene | Verification

Workshopping & peer critique

Phase 3 — Months 4–6

Giving and receiving critique is a distinct skill from writing. You learn to identify what is working and why, how to
describe problems without prescribing solutions, and how to separate subjective taste from craft issues. The Iowa
Workshop model: the writer stays silent while the group discusses the work. Ask: What is the story trying to do?
Does it succeed?
Feedback | Revision | Workshop etiquette | Descriptive critique

Feature screenplay structure

Phase 3 — Months 4–6

A feature screenplay is typically 90–120 pages. Act One (pp. 1–25) establishes the world and the inciting incident.
Act Two (pp. 25–85) is the confrontation — escalating obstacles that push the protagonist to their limit. The
midpoint (p. 55) raises the stakes. Act Three (pp. 85–110) is the resolution and climax. The final 10 pages deliver
the theme.
Act breaks | Inciting incident | Midpoint | Climax | Theme | 90–120 pages

Professional Writing & Filmmaking — 8-Month Course Plan Page 5

 Pitching & submission

Phase 4 — Months 6–8

A logline is a one-to-two sentence pitch that conveys protagonist, goal, obstacle, and stakes. A query letter
introduces you and your project to agents or producers in 250 words. Spec scripts demonstrate your voice on
existing shows. Contests (Nicholl, Austin, Sundance Episodic) provide credibility. Know the difference between
spec (sample), original pilot, and assignment.
Logline | Query letter | Spec scripts | Nicholl Fellowship | Austin Film Festival

Portfolio & writing career

Phase 4 — Months 6–8

Your portfolio includes: your best short story or essay, a completed short screenplay, the first act of a feature or
pilot, and a logline document for each project. Build a simple author website. Engage with writing communities
(r/screenwriting, Tracking Board, Stage 32). Read Published! by Katharine Sands for the query process.
Portfolio website | Author bio | Stage 32 | Tracking Board | Literary agents

Professional Writing & Filmmaking — 8-Month Course Plan Page 6

 Section 2 — Filmmaking Curriculum

The filmmaking curriculum covers the complete production pipeline: from the camera in your hands to your film
screening at a festival. Technical skills (camera, lighting, sound, editing) come first; creative and strategic skills
(directing, colour, festivals) follow. You need footage before you can grade it.

Visual storytelling

Phase 1 — Months 1–2

Cinema communicates through images and sound, not words. You learn how camera placement, framing, and
editing convey emotion, power dynamics, and theme — even before any dialogue is spoken. Study mise-en-scène
(everything in the frame), blocking, and how Kubrick, Welles, and Kubrick use space to express character
psychology.
Mise-en-scène | Composition | Visual language | Rule of thirds | Negative space

Camera & exposure basics

Phase 1 — Months 1–2

The exposure triangle: aperture (controls depth of field — how much is in focus), shutter speed (controls motion
blur — 180-degree rule: double your frame rate), and ISO (controls sensor sensitivity — higher = more noise).
Frame rate: 24fps for cinematic, 60fps for sports. White balance: match your light source (daylight = 5600K,
tungsten = 3200K).
Aperture | Shutter speed | ISO | 180-degree rule | Frame rate | White balance

Cinematography & shot types

Phase 2 — Months 2–4

Shot types: extreme wide (establishes location), wide (shows full body), medium (waist up), close-up (face),
extreme close-up (detail). Camera movement: static, pan (horizontal), tilt (vertical), dolly (track in/out), handheld
(energy), steadicam (fluid movement). Focal length changes character: wide lenses distort, telephoto compress
space and isolate subjects.
Wide shot | Close-up | Dolly | Handheld | Focal length | Dutch angle

Lighting fundamentals

Phase 2 — Months 2–4

Three-point lighting: key light (main source, creates shadow), fill light (softens shadows, ratio determines mood —
2:1 is soft, 8:1 is dramatic), back light (separates subject from background). Motivated lighting: light appears to
come from a story source (lamp, window, screen). Hard light (direct) creates strong shadows. Soft light (diffused) is
flattering and natural.
Key light | Fill light | Back light | Hard vs soft | Motivated lighting | Light ratio

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 Audio & location sound

Phase 2 — Months 2–4

Bad audio destroys good footage — viewers forgive bad pictures, not bad sound. Boom mic (directional, above
frame) is the primary tool. Lavalier (clip-on) is backup. Gain staging: set levels so peaks hit -12dB, never clip at
0dB. Room tone: record 30 seconds of silence in every location for post-production continuity. Monitor with
headphones always.
Boom mic | Lavalier | Gain staging | -12dB peaks | Room tone | XLR cables

Editing & post-production

Phase 2 — Months 2–4

Editing is the third writing of the film (first: script, second: shooting). Cut on action (cut mid-movement for
seamlessness). Match cuts connect similar shapes across scenes. The Kuleshov effect: the same face edited next
to food, a coffin, or a child changes meaning. Pacing: shorter cuts = faster tension, longer takes = contemplation.
J-cut: audio leads picture. L-cut: picture leads audio. These are the grammar of cinema.
Cut on action | Match cut | Kuleshov effect | J-cut | L-cut | Pacing

Directing actors

Phase 3 — Months 4–6

Directors don't tell actors what to feel — they give objectives (what does the character want?), obstacles (what
stops them?), and actions (verbs: seduce, interrogate, comfort). Blocking is where actors move and why — every
physical choice expresses character. Improvisation in rehearsal finds truth; structure in shooting captures it. Give
notes privately, specifically, and in terms of action rather than emotion.
Objectives | Actions | Obstacles | Blocking | Improv | Notes

Pre-production & storyboarding

Phase 3 — Months 4–6

Pre-production is where you spend time to save time on set. The shot list is every shot you plan to shoot, in order.
The storyboard visualises key shots and camera moves. The breakdown sheet identifies every element (cast,
props, locations, special equipment) per scene. The call sheet tells cast and crew where to be and when.
Over-prepare; improvise from strength.
Shot list | Storyboard | Breakdown sheet | Call sheet | Location scout | Schedule

Colour grading

Phase 3 — Months 4–6

Colour grading gives a film its visual identity. Primary correction: fix exposure, white balance, and contrast so the
image is technically correct. Secondary grading: selective colour (isolate skin tones, sky, etc.), stylistic looks, and
visual consistency across scenes shot in different conditions. LUTs (Look-Up Tables) apply a preset look. Scopes
(waveform, parade, vectorscope) tell you the truth your eyes can't.
Primary correction | Secondary grading | LUTs | Waveform | Vectorscope | DaVinci Resolve

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 Sound design & music

Phase 3 — Months 4–6

Sound design layers three elements: production sound (recorded on set), Foley effects (footsteps, cloth, props
recreated in a studio), and ambience (room tone, environment). Diegetic sound: exists in the story world.
Non-diegetic: score, narration. Silence is the most powerful sound tool. Music licensing: use royalty-free libraries
(Artlist, Musicbed) for festival submissions to avoid copyright issues.
Foley | Ambience | Diegetic vs non-diegetic | Score | Artlist | Silence

Film festivals & distribution

Phase 4 — Months 6–8

Festivals are the marketplace for short films. Tier 1: Sundance, SXSW, Tribeca, Berlin. Tier 2: Tribeca, Atlanta,
Nashville, BAFTA qualifying. Submit via FilmFreeway. DCP (Digital Cinema Package) is the format required by
most theatres and major festivals — create with DaVinci Resolve. Set a release strategy: festival run (6–18
months), then Vimeo Staff Pick for online visibility.
Sundance | SXSW | FilmFreeway | DCP format | Vimeo Staff Pick | Release strategy

Portfolio & director's reel

Phase 4 — Months 6–8

A director's reel is 90 seconds to 2 minutes of your strongest work — not a chronological highlight, but a curated
argument for your visual sensibility. Open with your best 10 seconds. Create an IMDb page for each project after
its first public screening. Your website should include: reel, filmography, contact, and one full short film. Social
presence: Instagram for behind-the-scenes, Letterboxd for credibility.
Director's reel | IMDb page | Portfolio website | Instagram | Letterboxd | Bio

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 Section 3 — Tools & Resources

Screenwriting software
Writing tools for formatting scripts correctly.

Tool / Resource Notes

Fade In Free trial. Cross-platform. Excellent formatting. Preferred for

beginners.

Final Draft Industry gold standard. $250 one-time. Used on major studio
productions.

WriterDuet Real-time collaboration in browser. Free tier available. Great for

co-writing.

Fountain Plain-text format readable by any app. Good for drafting without
formatting distraction.

Video editing software

Non-linear editing tools for assembling your footage.

Tool / Resource Notes

DaVinci Resolve Free, professional, includes colour grading suite. Start here.

Premiere Pro Adobe's NLE. Industry standard in narrative film. $55/month.

Final Cut Pro Apple ecosystem only. $300 one-time. Fast and optimised for Mac.

iMovie Free on Mac/iOS. Good for learning the basics before moving to
professional tools.

Essential books — Writing

The craft library every writer should build.

Tool / Resource Notes

On Writing Well — William The definitive guide to non-fiction prose clarity.

Zinsser

Bird by Bird — Anne Lamott The emotional truth of the writing life. Read first.

Story — Robert McKee Dense, comprehensive narrative theory. The screenwriter's bible.

Save the Cat — Blake Snyder Practical beat-sheet approach to screenplay structure.

On Writing — Stephen King Part memoir, part craft guide. Essential for any fiction writer.

Professional Writing & Filmmaking — 8-Month Course Plan Page 10

 Essential books — Film
The filmmaking bookshelf that matters.

Tool / Resource Notes

In the Blink of an Eye — Walter The philosophy of editing. Short, profound, essential.
Murch

Making Movies — Sidney A master director's account of the entire filmmaking process.
Lumet

Five C's of Cinematography — Camera angles, continuity, cutting, close-ups, composition.

Mascelli

The Filmmaker's Eye — Bruce Visual storytelling principles with film stills.
Block

Understanding Movies — Louis Film theory and analysis for serious students.
Giannetti

Online learning platforms

Curated digital resources for ongoing learning.

Tool / Resource Notes

MasterClass Aaron Sorkin on writing, Scorsese on filmmaking. High production

value.

No Film School Free articles, gear guides, and industry news. Read daily.

Film Riot (YouTube) Practical filmmaking tutorials for indie creators.

StudioBinder Free production templates (call sheets, shot lists, storyboards).

Corridor Crew (YouTube) VFX breakdowns that teach visual effects literacy.

Films to study deeply

Watch with director's commentary and frame-by-frame analysis.

Tool / Resource Notes

Citizen Kane (1941, Welles) Deep focus, non-linear time, every shot is intentional.

Parasite (2019, Bong) Vertical architecture as class metaphor. Perfect screenplay geometry.

Moonlight (2016, Jenkins) Colour, music, and silence used as emotional language.

Whiplash (2014, Chazelle) Editing as music. Every cut is a beat in the score.

Roma (2018, Cuaron) Single-take sequences, sound design, and memory as cinema.

Professional Writing & Filmmaking — 8-Month Course Plan Page 11

 Section 4 — Phase Milestones & Deliverables

Each phase ends with a concrete deliverable. These are not optional — they are the proof of your learning.
Finishing is a skill. Share each milestone publicly (screenings, readings) to build accountability and begin building
your professional reputation.

Phase 1 Write a 1,000-word personal essay in clear, active prose. Shoot a 60-second silent short film
using only images and sound — no dialogue. Screen both for feedback.

Phase 2 Write a properly formatted 10-page short screenplay. Produce a 3-minute narrative short film with
cast, location sound, and basic colour correction in post.

Phase 3 Complete 30 pages of a feature screenplay or a full short story collection (3 stories). Direct a 5–7
minute short with non-actor or actor cast, using a full shot list.

Phase 4 Final deliverables: a polished short screenplay ready for contests, a screened short film
submitted to at least 5 festivals, and a portfolio website with reel and bio.

A final note: The most important thing in this plan is not any individual topic — it is the habit of showing up daily.
Write 500 words. Watch one scene carefully. Shoot something. The craft accumulates invisibly and reveals itself in
your work.

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