The Doc Fix

DocFix Seminar

In Person and Virtual

The one or two day complete structure and analysis course


In Person and Virtual

Mentoring and consulting, dedicated to your own style, productions and story process.

Master Course

In Person and Virtual

The downloadble on-line complete course, with video and ebook guides.

The edit is the last opportunity to create, or save, your film. These courses will provide you with unique tools to help you analyse your programme and identify every decision that needs to be made to perfect your story or series.

They apply to every format or genre of story and give clear explanations of the critical concepts of acts, theme, genre, character - and how to use them to create a vibrant and complete story with meaning. These ideas are incredibly useful in the period before the edit, helping to create a solid story structure for pitching and prior to the shoot.

The course moves from the general, that applies to all stories, to the specifics for the programmes in which you specialise - from shiny floor shows, drama-doc, arts or science doc, presenter-led and even 'art' documentaries (if you are working the festival arena).

Using before and after samples from multiple examples, we will cover:

  • What a story is - and the difference between a story and a tale.
  • The concept of the story mind, and how we can explore the argument a story is making.
  • The difference between structure and storytelling. How both are vital, but the crucial skill is to be able to separate out the two and see where your problem lies.
  • Throughlines. How breaking open the story into fundamental through lines gives you complete control and the ability to add richness to the story without compromising elements you already possess.
  • What exactly is an act, where does this idea emerge from, and how can we use them in our structure?
  • Genre and theme, which naturally emerge from structure. How can you define them, or find them, in your programme?
  • What exactly is drama or jeopardy? Option locks and time locks and how having both will only confuse your audience.
  • The danger of reacting to your story rather than constructing it.
  • What do we mean when we are asking a character to go on a 'journey'?
  • Fool-proof ways to know the scenes that are needed to begin and end your film.
  • Software tools that can help you with the process.

These are fundamental insights that can improve any story that you are working on, in any genre. From commissioning editors watching a cut that just isn't working to a production company pitching an idea, these concepts can give a sense of security in the understanding of story that will stay with your throughout your career.

Participant Profile
Development execs, producers and directors, executive producers and commissioning editors. These skills are essential to anyone who comes in contact with a story at any level.