The question has repeatedly come up as to whether this is for series or feature films, and the answer is simply: BOTH.

For example, today I spoke with a producer about a story I conceived as a series, which she might want to see as a feature film (because it would be easier to place). 

I suggested not making this decision too early and told her about the training I always do. We both agreed that the question of the

That these are the essential steps that come before decisions about format, broadcaster, broadcast slot (and probably 100 others). We were in complete agreement on this!

Only then is there clarity—and at the same time flexibility—about what the vision is.

That's why ADVANCED TRAINING is REAL WORK!

Each week, we tackle one level—playfully and with a lot of trial and error—and determine what concept we are actually writing. 

We support you in this process with weekly check-ins with the ScriptCoaches, at least two Zoom calls with the group, plus the co-working space, and in the end – after creative TRIAL and ERROR – yes, in the end we notice howall the aspects fit together as one.

Everything revolves around the central conflict.        Yippee!! (Lol)

Those who have worked their way through this training create a solid foundation for any further project development, e.g., for a PITCH, and for the SCREENPLAY MARATHON. 

And for all DECISIONS regarding length and format, broadcast slots, and the like, you will then be SECURE IN NEGOTIATIONS.

Because, together with the decision-makers from the broadcaster/streamer and production company, you can put all decisions in relation to this central conflict.

And that is the core competence of us AUTHORS. 

Our partners in production need to be able to rely on us! 

We look forward to seeing you and your texts!!


Paula & Frank
Your Training Team