Training & Research in scriptwriting. Some considerations.

Dr. Patrick Cattrysse

(Flanders Script Academy)

pdf-versie (14 pp.)

First, there was the question of good training in scriptwriting. Europe has been lagging behind the US for almost half a century. In his Story, Robert McKee (1997:16-17) writes about the story problem and the loss of craft. He notes that:

European academics generally deny that writing can, in any sense be taught, and as a result, courses in Creative Writing have never been included in the curriculum of Continental (sic) universities. Europe does, of course, foster many of the world's most brilliant art and music academies. Why it's felt that one art is teachable, another not, is impossible to say. What's worse, disdain for screenwriting has, until recently, excluded it from study in all European film schools save Moscow and Warsaw.

An updated comparative study of the state of the art would be interesting and reveal that within Europe, different countries have taken up education in screenwriting. This does not imply, however, that in that field all problems are solved. For one, different countries have started and developed training in screenwriting at different speeds. Also, the quality of these training programs varies much, not only from one country to another, but even within EU member states. Consequently, the craftsmanship of professional writers differs considerably from one European country to another.

Furthermore, the conviction that writing can not be taught remains among some writers, producers and directors, and especially among decision-makers at universities, high schools and colleges. Therefore, the industry heavily relies on the exceptionally talented writers who manage to achieve a level of quality without effective training. The fact that some of them are successful continues the myth that storytelling or writing can not and should not be taught. What actually happens is that the exception is taken for the general rule.

pdf-versie (14 pp.)