We are all storytellers. Whether those stories are little white lies, two hour dramatic pieces, or three hundred pages novels, storytelling is a uniquely human trait we all share and writing is something we can all do — and I tell all my students that. No class can teach you "how" to write. You either write, or you don't.

As a self-instructed screenwriter and someone who has taught writing for both film and television for a decade to all abilities (teens, beginner-adults, to graduate students), I am often asked the question: What should I look for in a screenwriting class?

I'm going to address a few of those things you should be on the lookout for before signing up. NOTE: I'm specifically speaking of community-based classes, not classes from higher educational institutions.

1. Is this class taught privately or is it a public class?

Why is this important? Everyone has different learning styles. As someone who was a public class instructor, I had to account for all learning styles and create a very generalized program that could effectively instruct 20-25 people with different educational abilities, different schedules, and different reasons for taking a screenwriting class. A private class often has a smaller class size and/or learning goals that are more specific and tailored to each student. 

2. How many years has the class been running?

This is worth looking into because You want to find a class that has a history of students - a class where students return, where word of mouth travels just as well as the school's own promotion. A class that has been up for more than a few years likely has a solid curriculum and teaching method. This is not to say that a new, private instructor or new business isn't going to be great, but for your first class, I'd recommend searching for an instructor and school that has been established-enough that the class routine is set and that the course objectives and outcomes have been tested on a number of classes. As an instructor, I can attest that confidence in your class effectiveness makes a huge difference in your teaching style. An instructor who knows the material they've planned in the syllabus is an instructor who will make your learning experience fun, enjoyable and educational.

3. Who recommended it/how did you find it?

With screenwriting classes, word of mouth is everything. Granted, not all instructors may teach in a way that is effective across the board for all students, but if you know someone who has taken and enjoyed a particular class with a particular instructor, lean into that, whether private or public. 

4. What is the instructor's background?

Why is this important? Not every instructor needs to have multiple projects made in order to be a great instructor, but if you can get a sense of the instructor's background, that might provide insight to the kind of education you will receive. Having an instructor that is currently working in (or has recently worked in) the industry in any capacity is likely up to date on screenwriting methods (both character and structure), the business, and the market. All are important when it comes to being an effective instructor.

5. Cost.

Obviously money is tight right now for everyone. So ask yourself, is this class within your budget? On the other hand, is the class inexpensive enough that you won't take attendance seriously? I find with my students that there is a fine line between valuing a class and not caring about a class because the cost is not enough to encourage attendance. Factor in all of the following, not just the final number: You want to get your money's worth in any class, the class should be within your economic reach, and the class should be of a value that will keep you attending, because it's incredibly easy to make excuses not to attend... 

6. Free versus Paid.

Or Cost, Part II. Yes free classes exist. I know, because I co-founded a screenwriting collective that provided instruction and workshopping to the general public. We operated on the Meetup platform and classes were effectively free for anyone who wanted to attend. We offered a sign-up sheet and classes capped at 30 participants. In each "class", a participant's script was workshopped and the repeated faults of the script generated discussion to assist the writer with their next draft. Was it an effective course? I think so. Did everyone who attended love it? Of course not. Some people would get angry when their opinions weren't considered. Other people felt as though there was too much feedback, meanwhile others felt there was not enough. Some people wanted more instruction, some wanted less. The point being, free classes exist and you can still learn from them. If you don't have the ability to pay for a class, do your homework — there are lots of writers groups and workshops out there willing to take on new participants without a price tag. Becoming a better screenwriter is achieved by a combination of reading scripts, reflecting on scripts, and writing scripts. As long as a free groups offer the chance to partake in all three modes of learning, you will become a better, more confident screenwriter.

6.  Online Instruction.

It's rough, guys. You have to be ok with it. We Zoom and FaceTime so much now, really truly consider if you're going to want to attend a 1.5-2 hour weekly class on a Zoom. Does the instructor have experience teaching via Zoom? Do you have the ability to focus and be an active student while dressed in pjs with your dog barking for attention? Since online instruction is currently the safest model, make sure you're up for the challenge of online learning.

7. Promises, promises, promises...

Truthfully,  what you get out of a class is what you put into it. But also consider what the instructor or school promises you'll learn by the end of the class. Will you walk away with an outline? A treatment? A finished script? Is the sky the limit? What are your responsibilities as a student in this class? Are you able to participate in a manner that is effective for your own style of learning? What are your goals after the class? Does this instructor or school offer advanced classes, if you take and enjoy their intro? All of these questions will help you decide if the promises that the school or instructor offers will balance the goals you have for yourself as a screenwriter.

8. How long is the class?

Rome wasn't built in a day and neither is your award-winning screenplay. Look for a class that is at least 4-6 weeks of instruction, but closer to 10-12. There's a lot that goes into screenwriting, and no instructor is going to be able to teach you the basics in less than four weeks. I personally have taught two-day workshops, totalling 16 hours in instruction time and those are great for someone who is interested in screenwriting, but not necessarily effective for broadening one's knowledge and ability as a screenwriter. 

This also can apply to class length. Is your class 45 minutes or two hours? What is the format for instruction? A 45-minute class is going to be focused on blurting out information, whereas a two hour class will likely engage students in a discussion period, workshop, or exercises (sometimes all three). What's your favorite style of learning? Do you have the ability to focus for more than an hour? Are you comfortable participating in discussion? The length of each class will likely determine the format of each class, so you can best judge against your own personal learning style.

9. What is the class makeup?

Why is this important? Well, are you a beginner in a class of intermediate to advanced writers? Have you completed three screenplays and just need to enroll in a class to give yourself a deadline to complete your next, but you've enrolled in an intro course? Knowing the class makeup can help you decide what course or class is best for your needs. I wouldn't recommend a beginner take an intermediate to advanced class, just like I wouldn't recommend a professional take an intro class. Becoming an effective screenwriter is about experience, and though it is very important to surround yourself with writers who you consider "better" or "more experienced" than yourself, it's also important to make sure you choose a class where your educational experience in screenwriting is reflective of what you need most. There's no benefit in surrounding yourself with students who are delving deep into character study before you have the chance to understand effective character creation. You need to learn how to walk before you can run. Same goes with screenwriting.

10. Incentive and motivation.

It's a question I ask all of my students within the first five minutes of any class: "What do you want to get out of this course?" This not only helps me figure out the learning needs and requirements of each student, it also helps me match students who can benefit from each other's guidance. Are you here not to write a script, but to satiate your curiosity about writing the next great script? Are you a producer who maybe wants a little more background on screenwriting? Are you looking for a new career? Do you just have an idea you want to get out on paper? Each of these are valid reasons to take a class, and each of these should be considerations for you when you're picking the best course of study for yourself.

No matter what class you take, as long as you're motivated to learn, the class will be effective. There are some amazing instructors out there — go find them and have fun!