Chapter 21 of 35 from Aaron Sorkin

Writing Captivating Dialogue

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If you want to write Aaron Sorkin-worthy dialogue, learn from the master himself on how to make music with your words and put them to the test by performing your own scenes out loud.

Topics include: Dialogue as music • Being physical when writing dialogue

If you want to write Aaron Sorkin-worthy dialogue, learn from the master himself on how to make music with your words and put them to the test by performing your own scenes out loud.

Topics include: Dialogue as music • Being physical when writing dialogue

Aaron Sorkin

Aaron Sorkin Teaches Screenwriting

Aaron Sorkin teaches you the craft of film and television screenwriting in 35 exclusive video lessons.

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Your script starts here.

Aaron Sorkin wrote his first movie on cocktail napkins. Those napkins turned into A Few Good Men, starring Jack Nicholson. Now, the Academy Award winning writer of The West Wing and The Social Network is teaching screenwriting. You’ll learn his rules of storytelling, dialogue, character development, and what makes a script actually sell. By the end, you'll write unforgettable screenplays.

Watch, listen, and learn as Aaron teaches the essentials of writing for television and film.

A downloadable workbook accompanies the class with lesson recaps and supplemental materials.

Upload videos to get feedback from the class. Aaron will also critique select student work.

Reviews

4.7
Students give MasterClass an average rating of 4.7 out of 5 stars.

Learned a lot about intention and obstacle. Super helpful.

Thank you so much for the excellent learning experience!

Amazing insight on the process and structuring of story material. Great class, thank you!

His ability to present meaningful instruction is only vested by his ability to write genius screenplays. I had a high bar and he soared over it.

Comments

A fellow student

Gonna definitely practice speaking the dialogue to make sure it works. Albeit, I'll have to not shout when the characters are supposed to be shouting. My landlord only needs to see me once a month, after all.

Thomas L.

Look at David Mamet’s Glengarry Glen Ross (1992), or watch a film starring another master, Kevin Spacey............no thanks.

Shelly H.

Interesting lesson. I personally think that screenwriters can get better in dialogue with practice and a lot of work. For me, I think of it in levels: Terrible, Decent, Good, Great. I have been at the terrible stage, worked up to decent and am verging on good. I'm not sure if I'll ever be great with dialogue like Sorkin & Mamet, but I'll keep trying. But, dammit (note that I do say this), the challenge of writing better dialogue is super fun... The difference between myself and "virtuosos" like Sorkin & Mamet is that they were able to achieve the "great" status in less time than us mere mortals and/or, they just popped out of the womb with the talent. So, let's keep practicing and challenging ourselves.

Judith M.

Who's afraid of Virginia Woolf. I admit to only watching the first 30 minutes of the play. For me personally I found their rendition of the dialogue to be interesting in its representation of drunkeness. Not being a person who visits bars at all, I found the use of tempo and rise in notes (tone of voice) to be accurate to what I can remember of such parties that I have been invited to. As an expression of a playwrights craft of representation in dialogue it was quite masterful, but to my ears sounded more chaotic or like a cacophony of noise. Glengary Glen Ross: Again another 30 minute listen to the movie version, and I have to say really did sound like a group of salesmen. It also reminded me of Aaron's take on Steve Jobs, where he also portrayed a salesman in a similar light. I am sorry to say that it didn't feel musical to me at all, but it did achieve an immersion effect, I really felt that I was there in both cases. (Though not a salesman I have heard many talk in different sales areas). Kevin Spacey movie: The Negotiator. I think it was here that music felt the most appropriate description of dialogue for me. The staccato anger of Samuel L. Jackson as Roman, as angry verbal bullets. The soothing and more lyrical speeches of Kevin Spacey as Sabian, calming the situation. To me this suggested that perhaps we feel the music hidden in dialogue more around the 'people' in our writing that we most relate to, or feel sympathy for. Having been a Reservist, I have an innate sympathy for the military and police, both dominant groups in this movie.

Diana

People can be good writers without being good teachers, and vice versa. And, he's mistaken: real people DO begin and end utterances with "DAMN."

Maria

It's funny that Sorkin uses Mamet as an example for great dialogue, while Mamet himself in his Master Class on dialogue basically said "either you know how to do it or you don't" and that was his lesson. Sorkin actually manages to teach.

Maros M.

This was hugely helpful, I admire the way Aaron shared his way of writing and made it not sophisticated but down to earth. I learnt a lot from this class, thank you.

Anastacia S.

Longfellow said that music is the universal language of mankind. There is a scientist whose name I can't remember who said that music is literally the language of the universe, that it is made up of notes. This is one of the reasons why tuning forks work to promote health and healing. Aaron is so tuned in -- hahaha!

Richard T.

Here's a lesson screaming for examples. While it would be tough to include bits from bad, non-Sorkin works, there could have been some snippets of great dialog from him. The musical references were interesting, but not useful to a non-musician. He might as well have put the formation of dialog in terms of quantum mechanics.

Alonna S.

This lesson inspired me to take a songwriting class. I "think" musically but don't have the language to describe it. Who can remember their early piano lessons? (Ha.) Time for another bucket list item: songwriting. I had no idea Aaron Sorkin would be the person to finally get me to commit! Thanks!

Transcript

Once we start talking about dialogue, we are talking about the least teachable part of writing. It's not completely unteachable. But there are a couple of things that you can teach. It's also the most personal part of writing. So everybody's going to do it a different way. Everybody's going to cross the finish line a different way. So all I'm going to talk about is the way I do it. I'm not suggesting that this is the way it must be done. [MUSIC PLAYING] My first experience witnessing great dialogue was, I think, Who's Afraid of Virginia Woolf. My parents took me to see plays all the time. And often, they were-- I was too young to understand what was going on onstage. I saw Who's Afraid of Virginia Woolf when I was nine years old. There was no way I could understand what was going on up there. But the dialogue sounded like music to me, just these fantastic actors. Singing, it sounded like Edward Albee's dialogue. David Mamet, for instance, who is a virtuoso at dialogue and a particular type of dialogue. There's no one better than David Mamet at writing a conversation between two people who don't know how to communicate with each other that if you look at Glengarry Glen Ross, Speed-the-Plow, American Buffalo, those always feel like allegros, very sharp, kind of violent duets playing off each other. It's not just that dialogue sounds like music to me. It actually is music. At any time someone is speaking for the purpose of performance, whether they're doing it from a pulpit in a church, whether it's a candidate on the stump, or an actor on a stage, any time they're speaking for the purposes of performance, all the rules of music apply. Cadence and tone and volume, all of the rules of music apply to this. So when I'm writing, what the words sound like are as important to me is as important to me is as what the words mean. It's a lot about rhythm. The actors will know if they have dropped a syllable or added a syllable accidentally. They'll know that something was wrong the same way if you're playing music, and there's a time signature at the beginning of it, it says 4/4 time. That means there are four beats in a measure. And a chordant note gets one beat. There can't be five beats in a measure. There can't be three beats in a measure. And the actors know if they've dropped something, like I said, if they've dropped a syllable. And I know when I'm writing if that didn't quite work, what I was doing. So it-- and then if you look at the whole piece, say a two hour play, a two hour movie, a one hour episode of television, it follows along the-- it has a lot of the same properties as a long piece of music like a symphony does or an opera. It's got solos and duets. It's got allegros and adagios. It's got arias. And sometimes they're good. And sometimes they're bad. But it is music nonetheless. [MUSIC PLAYIN...