And... it's fucking free! How cool is that? Scott does this out of the goodness of his heart and for the love of all things screenwriting, and he offers amazing advice and insight every single day. I was one of the -- what, 40 - 50 people? -- who expressed their enthusiasm about this series when it was first announced and I wish that more people would join in the discussions. I'm learning a ton and so can you! I realize that not everyone is a compulsive opinion exhibitionist like me, but to actually put one's ideas down in writing in a forum like this helps tremendously in shaping one's thoughts about a subject. It forces you to dig deep and think. Let's challenge each other and become better thinkers and writers.

Of course, one must read scripts, but I have a big issue... To me, learning to write by just reading scripts and writing your own, is just like learning to play the guitar by listening to records and playing along. Of course, you'll make progress, and even develop your own style and tone, but ultimately you won't have any real understanding of why things work, only the rules you put together for yourself. Generally, you'll end up with a lot of bad habits and clunky ways to do things, and an inability to do more ambitious things, although it's true that every once in a while, a new technique evolves. For example, as good as the Edge is, he can't play anything except his style. And imho, similar things apply to screenwriting.

For someone who did learn how to play guitar by listening to records and then went on to study music theory, composition, orchestration and conducting, I know what you mean. But no one is saying you should only read scripts and writing on your own. It's just a part of an overall learning experience that should encompass every aspect of screenwriting. Read scripts, read screenwriting books, read interviews, study movies, write pages, discuss story with other writers -- everything. The best way to learn any "language" is to immerse oneself in that culture and absorb everything possible.

Pliny, what I always say is that it is possible to learn the craft of screenwriting by reading scripts, watching movies, and writing pages. I assert this for two reasons: (1) To emphasize the importance of those three aspects of the learning process as they are - in my view - a critical component. (2) To counteract the impression that one must go to USC or NYU to learn the craft. Degree programs, books, lectures, DVDs, seminars, workshops, it's possible to learn the craft that way, too. I don't minimize their value. I wouldn't have started Screenwriting Master Class if I didn't feel what Tom and I are doing provides a comprehensive, coherent way to learn how to tap into one's creativity and craft professional quality scripts. But there is something special about the tactile and direct experience of a writer engaging primary source material: scripts, movies, pages. Moreover what we are doing in discussing the scripts we read in the GITS series is digging into the stories, breaking them down to their core, and learning why they work (and sometimes don't work). So it's not just about reading scripts, it's about analyzing them. So in essence, we are having an agreement!

Thank you so much for this series. For a very long time I was reading other sites and wishing I could find a site that went into scripts and pointed out details about why this works, why that doesn't. Can I suggest doing the next series on Slumdog Millionaire and/or Bourne Identity? I need to learn more about how to handle changes in time, quickly. And those two come to mind as being films that best capture the sort of pace I'm looking to build in my own work. Thanks again!

Actually, people tend to be pretty disparaging around here about books like McKee and Field, which is understandable. But, there's certainly an expectation that outside of a film school class, you're supposed to learn by osmosis. I just think that's an inefficient way to learn. The one book I'd like to see is one that teaches you how to read a script, which is imho a skill unto itself. Having done the classical music thing as a kid, it occurred to me early on to read scripts while watching the movie or tv show, just like you'd read a score with the music playing. It makes a world of difference, imho, but that's still not perfect since there are generally differences between the scripts you get online, and what appears on screen. And I still feel like I'm missing some things that just need to be pointed out.

of course, and please don't take my words as being anything but 100% supportive of the work you're doing.

Actually the first book I read on the craft was "Screenplay: The Foundations of Screenwriting" by Field and I still recommend it. I've never read McKee. Nor Snyder. Nor Truby. I know something about each by virtue of working with writers who have read them and discussions with writers about various screenwriting 'gurus' over the years. My point about the more formal education re the craft -- and for this discussion, let's say that's anything other than reading scripts, watching movies and writing pages -- is if you have the discretionary time and money, go for it. Who knows when some 'guru' or teacher's wisdom / approach / language system may resonate with or inspire you. In a related note, this came across my Twitter feed today: You Don’t Need a Degree to Find Your Voice courtesy of Jane Friedman. Again to be clear: degrees are fine, screenwriting gurus (in theory) are fine, books, DVDs, seminars, conferences, workshops, they're all fine. A writer can certainly benefit from exposure to them as resources. However that is only part of the picture and in my humble opinion a writer would be wise to remember the mantra: "Read scripts. Watch movies. Write pages."

Thank you, Scott. I follow this series, I read the scripts, I read your analysis and others' comments, but am often blown away by the insight, that the "I'm not worthy" realization freezes me into comment silence. I may not be talking, but I am listening. I'd be a fool not to.

Scott, I was just trying to make a simple point, which is that if one has even a basic understanding of the rudiments of screenwriting, then reading a script is a different experience than without that understanding. Moreover, imho, the benefits of reading a script are greatly amplified with that knowledge in hand. I couldn't agree more that this doesn't require a USC or NYU degree, or any real level of formal training. All it does require is some appreciation of the elements of screenwriting, but set in the right context. However, as a neophyte writer, and without someone to tell me, it took a while to realize that there is even a context here. That the way one reads a script differs depending on a) how much understanding one has; and b) why the script is being read, and what the reader is trying to get out of it. And not that reading a script is ever a waste of time, but I think I could have progressed even further with the focus that comes from purpose derived from that knowledge.

Pliny, and I get you. Thanks for reminding us of that important point: While reading scripts and watching movies is important, having an informed context and knowledgeable set of eyes to help interpret what we read and write is equally important.

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