The Five Things You Absolutely Must Do To Write a TV Drama

'This class is regularly $50.

Thanks to Neon Venus, this lecture will be $5 for the first hour -- (10 to 11am..$5). RSVP here for the first hour!

and if you'd would like to stay for full 3-hour lecture pay only $20 more right before 11am. See before you buy! (11am to 1pm....$20).

Regular price is $50 for anyone who doesn't belong to this meetup.

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Television is where the hot, creative action in Hollywood storytelling is today.

It's where so many of the jobs are, too! Shows like BREAKING BAD, MAD MEN,

ORANGE IS THE NEW BLACK, GAME OF THRONES, SHAMELESS - they are thriving -- and American television is selling all around the world, too.

Why? Because there are no more censorship rules like there used to be -- TV

has the freedom that only movies used to have. Plus there is more TIME to develop

character (we'll show you how) and to get your quirky cool ideas onto television than there is in movies. Time and freedom equal amazing storytelling...and a giant market and appetite for new writers and new stories.

Come learn the secret patterns of great television drama, and see how the specific plot structures of hour long television work (they are very specific, and you need to follow them - it won't make you less creative, in fact, learning this plot structure will free you up

to tell wildly original stories.)

Learn the importance of 'breaking characters' in particular ways, of using the patterns of romance and the classic suspense tools that are used so brilliant by David Chase and Vince Gilligan. You'll see these patterns used right in class, as we look at the pilot of BREAKING BAD, and MAD MEN, as well as a 'dramedy' form like GLEE.

Movies will always be cool and exciting, but why not expand your reach by understanding how cutting edge television works and learn how to write it?

You might find you love it, too!

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MORE ABOUT PETER RUSSELL

Peter Russell is a master story teacher and script doctor who has helped shape film story for Brian Grazier and Ron Howard at IMAGINE "Einstein Project", Alex Schwartz and Cary Granat at WALDEN FILMS "Chronicles of Narnia", Sunta Izzicupo at CBS Television Movies of the Week, as well as PARTICIPANT MEDIA, "Ocean Warrior", VIACOM, and many others.

In 2005, Peter discovered a true passion when he began teaching film and television story at UCLA's Entertainment Division of the Extension School.

Peter's energy, entertaining style and true passion for his subject won him UCLA's Teacher of the Year in 2009.

In 2009, Peter created HOW MOVIES WORK a film school that now teaches film classes all over the world, as well as in classrooms in Venice and Beverly Hills, California. Recently HMW has begun to offer movie classes online as well, at howmovieswork.com (http://howmovieswork.com/). Screenwriters who have graduated from HMW include Vladimir Nagorney and Hal Oszan, both of whom credit HMW for helping them sell screenplays to major producers here in LA and to international studios in 2012.

Peter's book HOW MOVIES WORK, is coming out in 2013 on Focal Press.

In Peter's earlier career as a script reader he read over 5,000 scripts for the studios and developed a set of tools based on the patterns that he saw in the very best of these stories. Peter's seminars have become legendary because he teaches using these original tools -- and believes that the best way to teach them is to show how the greatest contemporary moviemakers use them. Peter's classes use many clips from recent hit movies to illustrate his points. The proof, he believes, is in the pudding -- and showing students how the patterns he's discovered actually work in movies like

DJANGO UNCHAINED and INCEPTION, in SILVER LININGS PLAYBOOK and ONCE, are the best way to drive home his lessons.

In fact, there is nothing Peter loves more than showing aspiring movie story makers just how hit movies work. It's his true passion. In his classes, people tell always tell him "I finally get it!" His students take the same class two or three or four times. His lectures get read, and re-read, viewed and re-viewed, time after time. Because they work. Because the patterns he shows his students help them make original stories.

There's no higher compliment Peter could receive than that. He loves his work!

And making his students love their own work, and up their own storytelling game, is his ultimate pleasure.