The Fortune-Teller’s Screenplay I 5-Week Short Screenplay Workshop with Tang Yi 上帝是个好编剧？ 人物的过去、现在和将来 I 五周短片剧本工作坊 x 唐艺
The Fortune-Teller’s Screenplay I 5-Week Short Screenplay Workshop with Tang Yi
6/21-7/26, Skip 7/5
2 hours Every Sunday 10AM-12PM
How much do we truly need to know about the characters we create? In this 5-week short screenplay course, we will learn to be the fortune tellers of our characters’ destinies. Within our limited screen time, we take a single moment and unfold a character's entire past, present, and future.
You might be thinking: Wait. What? I need to be a fortune-teller to be screenwriter? Let’s break down the perspectives of the a fortune teller and a screenwriter and see what’s in common.
1. Physiognomy = Character Introduction & Subtext
The Fortune-Teller: Foretelling an impending financial ruin simply by observing a person's darting eyes and restless posture.
The Screenwriter: Utilizing a character's wardrobe, props, and physical movements to expose their social class, inner desires, and impending crises.
2. Reading the Natal Chart = Trauma Mechanisms & Character’s Bio
The Fortune-Teller: Analyzing a natal chart to declare that one has weak ties to kin and is destined to leave their ancestral home to forge their own fate.
The Screenwriter: Establishing the core trauma a character suffered in their childhood to dictate their instinctive choices when facing conflict in the present.
3. Mapping the Transits = Character Turning Points & Plot Points
The Fortune-Teller: Foretelling a looming calamity, and introducing a savior to turn their destiny around.
The Screenwriter: Using the Inciting Incident in Act I to force the character out of their comfort zone, and introducing a Midpoint shift or an ally in Act II to completely alter their trajectory.
Life rarely operates on cause and effect, but on meaningful coincidence. While we look through the lens of fortune-telling to observe human nature, we write with rigorous dramatic logic to construct a seamless destiny.
Through this workshop, beginners will craft a character-driven short script, master a bulletproof foundation to later scale their work into feature films or series with absolute independence.
Workshop Overview
No matter how AI reshapes the industry, it can never replicate the true drive behind writing. Art is born from human flaws and broken hearts—territories AI can never navigate. Screenwriting remains the most primal and definitive path to filmmaking.
This five-week workshop follows a structure inspired by the NYU graduate film program. Students will learn to use everyday details and strict dramatic logic, to construct a destined journey for their characters.
Here, practical constraints like budget, schedule, and page count are never obstacles. Instead, effective planning is just another form of fortune-telling—it forces you, like a real master, to see exactly how far your story can go within the limits of reality.
Each week, we will screen and discuss one to two low-budget short films. Alongside personal case studies from Tang Yi, we will deconstruct the early breakthrough works of masters like Céline Sciamma, Luis Buñuel, and Taika Waititi. Together, we will decode their shared DNA: how to observe the everyday (the Present) to amplify deep-seated traumas (the Past), and ultimately engineer an irreversible dramatic destiny (the Future).
Upon completing your scripts, we will transition into table read workshops and group discussions. Each writer will cast their classmates to read the characters aloud and must prepare two critical questions for the room to test perception against intent.
Course Outcomes
Finish a polished, character-driven short script with real psychological depth.
Develop a sustainable creative method—learning how to fuel your stories directly from your everyday life.
Master the art of creative peer-review, learning how to give constructive feedback and serve as a mirror for fellow writers.
Walk away with a ready-to-shoot script, ready for film school portfolios or festival submissions.
Designed for all levels—highly accessible for beginners and deeply inspiring for experienced storytellers.
Workshop Guidelines
Creative Constraints
If you are a beginner or wish to challenge yourself with pure, concentrated dramatic tension, we highly recommend restricting your script to 3 characters, 3 locations, and 3 scenes. Within this hyper-confined space, force the audience to feel the full weight of the character’s past, present, and future.
For experienced writers, we encourage you to step outside your comfort zone and tackle more complex narrative structures and intricate character dynamics.
2. Constructive Feedback and Environment
Workshop discussions center entirely on giving constructive feedback. We are here to help each other to realize their artistic vision, rather than expressing personal preferences.
Here are the three main rules when giving feedback.
Consciously refrain from phrases like 'I like/dislike' or 'I love/hate.' These reflect your personal tastes and won't help the writer develop the story in their own direction.
Simply try to retell the story back to them in your own words. This is the best way to help the writer see if their original intent actually landed with the audience.
Look at the clues the writer has already dropped and think: Where could this story go next? Help them see the exciting directions the script could take.
We aim for every participant to leave each session energized and inspired, remaining open, excited and experimental toward their work.
In this room, engaging in discussion is not only a way to support others. As you dive into a peer’s script, you will often find that very mirror magically granting you a fresh, razor-sharp perspective to see your own work clearly.
Schedule of 5-Week Curriculum
Week 1 | The Present Moment: Character Observation & Foundational Craft
Tang Yi will deconstruct her films Black Goat and All the Crows in the World, focusing on character anatomy and world-building.
Foundational directing and screenwriting theory for independent filmmaking.
Week 2 | Past & Future: Deconstructing the Early Masterpieces
Demystifying how master filmmakers map out a character's "natal chart" (planting trauma) and "transits" (engineering inciting incidents and midpoint shifts) within their early breakthrough shorts.
Students develop, pitch and refine their own concepts, expanding character bios and dramatic stakes.
Week 3 - Week 5 | The Workshop: Table Reads & Character Evolution
Intensive, NYU-style table reads. You will cast your classmates to read your script aloud. Then, you will ask two specific questions to get honest, useful feedback.
Continuous rewriting to deepen your characters and sharpen the story.
Q&A
Instructor’s Bio
Tang Yi is the winner of the Palme d’Or for Short Films at the Festival de Cannes 2021 for “All the Crows in the World.” She received her MFA in Graduate Film from NYU Tisch School of the Arts. Yi enjoys telling stories about women, underrepresented groups, and social issues, which she captures through a subversive, darkly comedic film lens.
After premiering her first short film, Black Goat, she was named one of the 25 Screenwriters to Watch in 2020 by the Austin Film Festival. Her latest short film, Yokelan, 66, was eligible for the Academy Award for Best Live Action Short. She was a recent participant at La Résidence du Festival in Paris, along with the Torino ScriptLab, for her debut feature. She was also selected for Berlinale Talents and Script Station. She is now based in Hong Kong and New York, working on various film projects.
Prior to filmmaking, she was a singer-songwriter in Hong Kong. She released her debut EP titled Seriously in 2015. The EP topped the charts in the Hong Kong iTunes Store and earned her a nomination for Best New Artist by the Hong Kong Music Critics Awards.
Reading and Watching List
Recommended reads:
The Artist’s Way — The Artist's Way by Julia Cameron
Big Magic: Creative Living Beyond Fear — Big Magic: Creative Living Beyond Fear by Elizabeth Gilbert
Save the Cat! — Save the Cat! by Blake Snyder
Recommended Screenplays & Feature Films
Parasite
Written by: Bong Joon-ho & Han Jin-wonCannes Palme d’Or, Academy Award Best Picture
Three Billboards Outside Ebbing, Missouri
Written by: Martin McDonaghVenice Best Screenplay
Poetry
Written by: Lee Chang-dongCannes Best Screenplay
Portrait of a Lady on Fire
Written by: Céline SciammaCannes Best Screenplay, Queer Palm
The Substance
Written by: Coralie FargeatCannes Best Screenplay
Fleabag
Written by: Phoebe Waller-BridgeEmmy Awards
Short Film List
Early Works & Prominent Shorts by Renowned Directors
Pauline — Directed by Céline Sciamma; part of a collaborative, socially conscious anthology.
Two Cars, One Night — Directed by Taika Waititi; the Academy Award–nominated short that launched his career.
An Andalusian Dog — Directed by Luis Buñuel ; a silent film and a crossover collaboration between Luis Buñuel and Salvador Dalí.
Laps — Directed by Charlotte Wells (Aftersun); a visceral student short exploring boundary violations on a subway.
Thunder Road — Directed by Jim Cummings; won the Sundance Short Film Grand Jury Prize, known for its legendary single-take acting performance.
Cannes Short Film Palme d'Or Winners
All the Crows in the World — Directed by Tang Yi; won the Short Film Palme d'Or at the 74th Cannes Film Festival.
27 — Directed by Flóra Anna Buda; won the Short Film Palme d'Or (Animation) at the 76th Cannes Film Festival, exploring millennial angst and surreal escape.
Festival Favorites
Black Goat — Directed by Tang Yi; a poignant coming-of-age short shot in Nepal.
I Have No Tears, and I Must Cry — Directed by Luis Fernando Puente; a tense Sundance selection exploring the psychological pressure of an immigration interview.
Pitter Patter Goes My Heart — Directed by Christoph Rainer; a quirky, melancholic tragicomedy about obsessive love.
Troy — Directed by Mike Donahue; a Sundance selection dark comedy about neighbors and loud sex.
上帝是个好编剧？ 人物的过去、现在和将来
在剧本创作时，对于我们塑造的人物，我们需要了解多少？在这一次的短片编剧课程里，我们将成为人物的算命师 —— 在有限的银幕时间里，从一个当下的时刻展开，去推演、编织人物的过去、现在与未来。
你可能在想，什么？当编剧居然还要会算命？现在让我们来拆解一下算命师和编剧的视角，看看这两者之间是不是有一些关联之处。
看面相 = 角色出场与视觉潜台词
算命大师： “看ta眼神闪烁、坐立不安，最近一定有破财之灾。”
编剧导演： 角色登场的衣着、道具、空间风水，在没有任何对白的情况下，就已经向观众宣告了其阶级、秘密和即将来临的危机。
批八字/星盘 = 创伤机制与人物小传
算命大师： “六亲缘薄，离祖成家。注定要离开故土才能成事。”
编剧导演： 人物童年经历的核心创伤，决定了ta在当下遭遇冲突时的本能选择与致命弱点。
推流年 = 命运转机和剧本结构
算命大师： “你马上经历一个大劫，但是之后会遇到一个扭转乾坤的贵人。”
编剧导演： 第一幕的“诱发事件”是大劫，逼迫角色走出舒适圈；第二幕遇到的“转折/盟友”是贵人，彻底改变其宿命轨迹。
很多事情的发生其实并没有因果上的关系，但有意义上的关联。“算命”只是用来观察人性的工具， 更重要的是如何用严密的戏剧逻辑，把人物的命运严丝合缝地写出来。
这一次的编剧课重点在人物发展。从一个当下的时刻展开，了解人物的过去，现在和未来。我们的课程目标在于完成一个以人物为中心的短片剧本。后续希望同学们能够自行学习拓展成长片或者剧集。 对于初学者也非常友好。
工作坊概述
无论AI如何改变行业，它永远无法复制人类带有创伤记忆的情感。剧本创作，依然是通往电影创作最核心、最有效的路径。
本课程参考 纽约大学电影研究生 的核心剧本工作坊结构设计。我们将通过观察“当下的细节”，利用严密的戏剧逻辑，把人物的命运严丝合缝地写出来。
在这里，预算、排期和页数这些现实限制从不是障碍。相反，有效的规划本身就是另一种“算命”——它逼着你像个真正的占卜师一样，在限制中看清文本的走向与现实的可能。
每周我们将观看并讨论一至两部低成本短片。导师唐艺将分享亲身经历，讲解剧本创作与拍摄制作流程，并介绍基础的编剧与导演知识。除此之外，课堂上也会讨论包括 Luis Buñuel, Céline Sciamma, Taika Waititi等大师的早期成名作。我们将剥离出他们共同的底层密码：如何通过日常生活的观察（现在），放大人物的深层羁绊（过去），最终推演出不可逆的戏剧结局（未来）。
同学们完成剧本后，我们会进行剧本围读和小组讨论。每位作者将指定同学担任朗读角色，并且准备好向同学们提问。
结课目标
完成一部经过工作坊打磨、人物立体的短片剧本。
建立一套可持续的、将个人内在经验转化为严密戏剧结构的创作方法。
学习如何互相帮助，给建设性反馈。
最终作品可直接用于海外电影学院申请或电影节投递。
对初学者极度友好。
工作坊规则
创作限制
为了让不同阶段的创作者都能在5周内最有效率地爆发灵感，我们提供两种完全自主选择的创作方向：
极简3-3-3: 如果你是初学者，或者想挑战更纯粹的戏剧张力，我们非常推荐你将剧本限制在3个角色、3个场景、3场戏里。在极简的场景里，让观众感受到被人物的过去、现在和将来所牵动。
进阶挑战: 如果你已有创作经验，我们鼓励你跳出舒适圈，去探索更复杂叙事结构和更复杂的人物关系。
2.反馈原则和学习氛围
讨论应以“建设性反馈”为核心——我们的目标是作为彼此的旁观者，共同解开文本的命运轨迹，帮助作者实现其最初的创作意图，而非表达私人的审美喜好。
为了创造一个纯粹、安全的创作磁场，我们将遵循以下原则：
剥离主观直觉 : 在交流中，请主动克制使用 “我喜欢 不喜欢” 或 “我很爱 很讨厌”。这些属于私人审美，无法在物理层面上帮到作者。
验证意图和接受的偏差：反馈的本质不是教作者怎么改，而是作为一面客观的镜子，诚实地告诉作者：“作为听众，我接收到了什么？” 让作者验证自己想表达的核心，别人到底懂了没有。
寻找人物命运方向: 尝试去判断：“作者目前在人物身上埋下的线索，正把 ta 推向一个怎样的命运方向？” 看到文本本身的潜力和可能性。
我们希望每位作者在每节课后，都能带着满溢的能量与灵感离开，对作品始终保持开放、兴奋与探索的状态。
在这里，参与讨论不仅是支持他人。当你在拆解他人的作品时，你往往会在镜子里，奇迹般地获得看清自己作品的新视角与新启发。
5周课程结构
第一周 | 基础知识与经验分享：观察人物的现在时刻
唐艺分享《寻找黑山羊》和《天下乌鸦》，着重人物分析
基础导演和编剧理论知识
第二周 | 大师早期作品分享：剧作中人物的过去和将来
核心主题： 拆解大师如何在短片篇幅内“批八字”（植入创伤）与“推流年”（设置诱发事件与中点转折）
学生发展自己的剧本和人物
第三至第五周 | 命运推演工作坊：剧本围读与人物修正
核心流程： 剧本围读。每位作者指定同学朗读角色，并带着具体问题接受建设性反馈。
Q&A
导师简介：
唐艺毕业于纽约大学电影学院。她的首部短片《寻找黑山羊》在尼泊尔拍摄，获得美国电影学院电影节评审团特别奖，并被奥斯丁电影节选为“2020年最值得关注的25位编剧”之一。 2021，她的短片《天下乌鸦》获得鲜浪潮国际短片节本地竞赛最佳导演奖及最佳编剧奖，于同年在康城影展获得短片金棕榈奖，并且入围金马奖最佳剧情短片。 2022年，她凭借《天下乌鸦》获得西南偏南电影节短片评审团大奖。
唐艺以香港和纽约作为大本营，积极开发自己的长片作品。 她的正在开发中的长片得到康城影展驻地、义大利都灵剧情片实验室，柏林天才训练营和金马创投的支持。
在成为一个导演之前，唐艺是一个创作歌手。2015年，环球唱片（香港）发行了唐艺的首张个人迷你专辑《Seriously》。
书单和影单
The Artist's Way
中文常译：《艺术家的修行》
作者：Julia CameronBig Magic: Creative Living Beyond Fear
中文常译：《创意课：用创造力活出自己》
作者：Elizabeth GilbertSave the Cat!
中文常译：《救猫咪》
作者：Blake Snyder
推荐剧本与长片电影
Parasite《寄生虫》
编剧：Bong Joon-ho、Han Jin-won
获奖情况：2019 戛纳电影节金棕榈奖
2020 奥斯卡最佳影片
2020 奥斯卡最佳原创剧本
Three Billboards Outside Ebbing, Missouri《三块广告牌》
编剧：Martin McDonagh
获奖情况：威尼斯电影节最佳编剧奖
Poetry《诗》
编剧：Lee Chang-dong
获奖情况：戛纳电影节最佳编剧奖
Portrait of a Lady on Fire《燃烧女子的肖像》
编剧：Céline Sciamma
获奖情况：戛纳电影节最佳编剧奖
酷儿棕榈奖（Queer Palm）
The Substance《某种物质》
编剧：Coralie Fargeat
获奖情况：2024 戛纳电影节最佳编剧奖
Fleabag《伦敦生活》
编剧：Phoebe Waller-Bridge
获奖情况：艾美奖最佳喜剧系列等多项大奖
短片推荐
知名导演早期短片
Pauline《Pauline》
导演：Céline Sciamma
属于一个关注社会议题的短片合集。An Andalusian Dog 《一只安达鲁西亚的狗》 导演：Luis Buñuel 本片是超现实主义电影之父Luis Buñuel和超现实主义画家Salvador Dalí 的跨界合作
Two Cars, One Night《两车，一夜》
导演：Taika Waititi
曾获奥斯卡最佳真人短片提名，也是其成名作之一。Laps《Laps》
导演：Charlotte Wells（《晒后假日》导演）
一部非常强烈的学生短片，讲述地铁中的边界侵犯与心理压迫。Thunder Road《雷霆之路》
导演：Jim Cummings
获圣丹斯短片评审团大奖，一镜到底。
戛纳短片金棕榈获奖作品
All the Crows in the World《天下乌鸦》
导演：Tang Yi
获第74届戛纳电影节短片金棕榈奖。27《27》
导演：Flóra Anna Buda
获第76届戛纳电影节短片金棕榈奖（动画），主题涉及千禧世代焦虑与超现实逃离。
电影节热门短片
Black Goat《黑山羊》
导演：Tang Yi
在尼泊尔拍摄的成长题材短片。I Have No Tears, and I Must Cry《I Have No Tears, and I Must Cry》
导演：Luis Fernando Puente
圣丹斯入围作品，围绕移民面试中的心理压迫展开。Pitter Patter Goes My Heart《Pitter Patter Goes My Heart》
导演：Christoph Rainer
一部视觉风格鲜明、带有黑色幽默的爱情悲喜剧。Troy《Troy》
导演：Mike Donahue
圣丹斯入围黑色喜剧，讲述邻居与噪音性生活引发的荒诞冲突。