From Aaron Sorkin's MasterClass

Writing Scenes: Part 1

A great story is more than just a collection of great scenes. Learn how to give your script momentum from one beat to the next.

Topics include: Purpose of a scene • Comedy scenes

Play

A great story is more than just a collection of great scenes. Learn how to give your script momentum from one beat to the next.

Topics include: Purpose of a scene • Comedy scenes

Aaron Sorkin

Teaches Screenwriting

Learn More

Preview

If you're not moving the story forward, you're standing still, and you better be careful about how long you're standing still because the audience won't hang out with you as long as you want them to. So, you have to be moving the story forward. Stories involve motion, OK? If you're about to write something, you're thinking about this thing that you're going to write, and the idea is that you're going to start at point A. You're going to go due north and end at point B, which is somewhere north of point A. But in the writing process, somehow, you stop going north, and you start going north by northeast, and that kind of thing, and somehow point B ends up being due east and not due north. You haven't done anything wrong. As long as you have traveled from one place to another place, you're in good shape. Your next script, you can go due north. In that one, you'll probably end up due west, and then you've got a third script where you can go due north. But you have to travel. There has to be motion. So, at the end of a scene, we have to be at least one step further than we were before. [MUSIC PLAYING] You can do a few different things to launch yourself from the end of one scene into another scene. You can have the next scene be an answer to a question that you asked in the previous scene. In other words, you can-- let's just take, for the sake of argument, the Jets and the Sharks, OK? West Side Story, the Jets and the Sharks. If you have a scene with the Jets at their hangout, it's before the rumble-- this scene, by the way, does not exist. I'm now making up scenes for West Side Story. This scene does exist. They sing "Cool Boy." The Jets are in their hideout, their hangout, and they're nervous for the rumble, and they're talking about the rumble. And someone says, gee, I wonder what the Sharks are doing right now? Lights up on the Sharks, and you do that. There was a really well-made HBO movie. It was written by Danny Strong called Recount, about the 2000 Florida recount, and every scene ended with a launch into the next scene. I mean, it was beautifully constructed. Every scene would end with, well, there's no way that the Florida Supreme Court is going to rule this way. Cut to the Florida Supreme Court has ruled this way. That kind of thing. And you know, Danny connected that together like LEGO blocks. It was perfect. Depending how you're structuring the script, the end of a scene can be kind of a mini climax, and it should jettison you into the next scene. [MUSIC PLAYING] Not every scene has to end with a cymbal crash, you know? But a scene does have to end with you very happy to move on, that you want to keep going. As opposed to this feeling that you're spinning your wheels, when is this thing going to gain traction, what am I supposed to be looking for. I'm not going to name the show, but there's a show on tel...

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. In this class, you’ll learn his rules of storytelling, dialogue, character development, and what makes a script actually sell. By the end, you’ll write screenplays that capture your audience’s attention.

Reviews

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

Working through this class has been a great experience. Although I still have some homework to do, I've learned a lot. I highly recommend this class to any aspiring screenwriters.

Aaron Sorkin is brilliant. Everything he says is brilliant. Luckily for us, he speaks in a way that is inviting, which is essential for new writers. I'm finishing this class encouraged to write the best freaking story I can - with some of the right tools to do it. This Masterclass is accessible as much as it is mind-blowing.

Great Introduction. Can´t wait to start this class and more eager to learn.

Hearing it from an accomplished writer gave me more confidence that it's ok to have days go by when writing is not taking place but instead a lot of thinking and researching along with the need for a great support group of writers in a writing room to bounce ideas off of.

Comments

Judith M.

Working on the scene page lengths and commonalities, I found the following: 1 page scenes were often flashbacks or flash forwards. A high proportion of which were opening scenes with an end hook, using the action (hot) triangle from the poetics bringing an emotive action to a focus point (Opening scenes Flashpoint series). The alternative being the internal (cold) triangle moving from a persons internal thoughts out to the world around them (Scenes with V.O.). 5 page scenes were often tension points moving from internal or spoken points to an action, or commonly a debate or argument leading to a resolution. The two triangles overlapping to produce a diamond shape in the middle. 1 character scenes, usually reflected personal choices or change points. Many of those would be considered plot points for a single protagonist. Star shape, all poetics in play. Multi-character scenes are often where we are trying to get the audience to understand choices or conflicts that the protagonist needs to make. They will often voice all the worries and doubts that we do not expect our heroes to admit to, and give such characters their own arcs to play out. This seems to be the most fluid type of scene in content terms, but always results in movement, whether internal or external in the plot. hexagon centre, the star points are folded in as each opinion or option is discussed. I tend to think of these scenes as more than 2 people.

A fellow student

G. M. Thomas, WA In writing our film play, we need to move the story along; we need to go somewhere. Sometimes we answer a question posed in the prevjous scene. Toward the end of the teleplay, there could be a mini-climax. Comedy, Aaron mentioned a bit of humor from the West Wing. He had planted much in the past that a chair was being repaired. Now in a subsequent scene the intelligent man doesn't look and falls because there is no chair.

Lisa

Great lesson. Thank you Aaron for the "set-up early pays off later" advise. I've been working on that with my comedy script.

Fredy G.

So I officially started writing my script and could use someone to look at my first page to get some feedback message me if you’re interested I’d appreciate it!

Jake H.

I wonder what TV show he was talking about. That TV show for me was Westworld S2, where it spun it's wheels all season by slowly revealing a mystery instead of having characters launch from one scene to the next.

Max R.

Me personally, i Don't mind having patience until a film gets good. just make sure the scenes before the "good part" are interesting enough to keep the audience patient

Maurice Y.

Everything is funny with a (K) in it-- Then I'm going to climb in my viper and shoot down some fraking Cylon's!

CLAU

WHEN I WRITE A SCRIPT I USEALLY TAKE MY TIME TO WRITE EVERY SCENE IN THE STORY SO I WRITE THE FIRST SCENE PRINTED IT OUT GIVE IT TO THE THEATER PRODUCTION THAT WILL LOOK AT IT AND IF THEY LIKE IT THEN I WILL START WRITING THE NEXT SCENE IN THE STORY

Steven H.

When I have ten million in the bank and a house in the Hills of Beverly I will be altruistic too. Until then I need to be a shark. JAWS! There's a plethora of talented writers. Let the games begin. Aaron knows his territory. Much like the wild west of the 1880's or Dylan's Rat Race Choir, only the strong survive,

Eli S.

I'm writing a drama right now and the problem I'm having is exactly what he's talking about; I need more momentum in my scenes, or maybe just more "events" that propel the story toward my goal. I guess that's what second third and twentieth drafts are for haha.