SCRIPT-EDITING : What (the f*) is this?

(29 May - 19 June 2021 )

The online script editing workshop from the Greece scriptdtor and scriptwriter

Nicos Panayotopulos

The seminar is meant to explore the goals and the process of Script-Editing.

Issues that we will be focusing on:

What are we looking for when we read a script?

When do we start to wonder that something is not right?

Which are the specific aspects of scriptwriting where things can go wrong?

What is the importance of Narrative Structure?

What is the importance of Character?

What is the significance of the Narrative Style?

Which way is the Theme connected to all the above?

What is the difference between Film and TV series?

By discussing the Narrative Structure of certain films, by approaching Character in others, by assessing qualities like the Visuals and Narrative Thrust, we will try to pinpoint the qualities we are looking for and the flaws and defects that we usually come across when reading a screenplay.

In the final meeting we will work on an actual story, as a case study, trying to detect ways to channel and maximize the Script-Editor’s contribution and discuss the dos and don’ts in his collaboration with the Writer / Writer-Director / Writer-Director-Producer.

Nicos Panayotopoulos - one of the leading screenwriters in Greece, as well as developers / authors of series. Nikos is an experienced European writer, his books have been translated and published in several EU and Asian countries. Nikos Panayotopoulos was born in Athens in 1963. He studied engineering at the Piros University of Technology and at the same time he studied a Stanislavsky drama course at the Hellenic-American Union. Since 1998, he has been teaching screenwriting at several film schools, such as: Stavrakos Film & TV School in Athens; Since 1999 he has been training staff on Greek National Television . From 2000 he worked for 8 years as a script doctor for the program Grafi Program (Script Development Program of the Greek Film Center) . Until 2006 he taught at the Faculty of Film School of Fine Arts at AUTH (Aristotle University of Thessaloniki) . Since 2017, he has been leading a scriptwriting course at the Faculty of Creative Writing at the Greek branch of the Open University. Since 2000, Nicos Panayotopoulos has been collaborating with MFI Script2Film Workshops (a MEDIA program) Nicos Panayotopoulos has been teaching screenwriting in several Film Schools, seminars and workshops. Since 2007 he is a Senior Trainer at the MFI Script2Film Workshops.

He has written scripts for feature films and TV series. he has received the Best Script Award at the Thessaloniki International Film Festival and won the first prize in a screenwriting competition with his screenplay False Alarm.

Nicos Panayotopoulos is an expert / scrithdoctor / lecturer in numerous screen labs such as: Eastweek Screenwriting Workshop 2013-2017, (Trieste, Italy) , Rawi Screenwriter's Lab 2015 (Jordan) , GNFC Screenwriter's Workshop 2015 (Τbilisi, Georgia) , BIAFF Screenwriter's Workshop 2016-18 (Batumi, Georgia) , AdaptLab 2016 (Warsaw, Poland) , Open Doors Hub & Lab 2018 (Locarno, Switzerland)

Nicos is a script doctor for films such as: Fish ’n’ chips dir. Elias Demetriou [Cyprus, 2011], Tot Altijd dir. Nick Balthazar [Belgium, 2012], Cloro dir. Lamberto Sanfelise [Italy, 2016], Easy dir. Andrea Manani [Italy, 2017], Directions dir. Stefan Komandarev [Bulgaria, 2017], Rosemarie dir. Adonis Florides [Cyprus, 2017], The reports on Saleem and Sarah dir. Muyad Alayan [Palestine, 2018]

His poems and stories have been awarded in literary competitions, and his works have been translated and published in many languages, such as: Polish, German, French, Italian, Slovenian, Serbian, Portuguese and Chinese . Greek works by Mr. Andrew Krumie's Mee, Philip Roth's Professor of Desire and Jean Echenosis's Jérôme Lindon


The length of the programm: 4 weeks. One session per week.

the lenth of the one session 3-4 hours, with the 30 minutes break.

WORKING LANGUAGE - ENGLISH (for those who doesn't speak English there will be synchronized translation to Ukrainian)


1st Meeting (29 May 2021)

The theory behind the job : STORY
  • What to look for in a treatment or a draft.
  • Structure of storytelling
  • The discussing of those ellements in the following films: White Film, by Kr. Kieslowski The Apartment, by B. Wilder
  • Assignment for the next meeting : Castaway, by R. Zemeckis
  • 2nd Meeting (05 June 2021)

    The theory behind the job: CHARACTER
  • Character’s Want & Need.
  • Character’s Arch & Character’s Core
  • Castaway by R. Zemeckis - The Sequence Approach The Merchant, by As. Farahdi Protagonist vs Antagonist : Head on, by F. Akin
  • Assignment : Dogtooth, by G. Lanthimos
  • 3rd Meeting (12 June 2021)

    The theory behind the job: The narrative style – visuals
  • The Story and the Theme
  • Narrative Thrust
  • Dogtooth, by G. Lanthimos
  • TV : “Ethos” (“Bir Baskadir”) / “House of cards” / “Breaking Bad”
  • Assignment : Easy, by A. Magnani (treatment).
  • 4th Meeting (19 June 2021)

    THEME: How to work with a Writer / Writer-Director / Writer-Director-Producer
  • Summing it up : A case study (Easy, by A. Magnani) The conclusion.

  • screenwriters who want to understand how to refine their script, looking at it through the optics of a script doctor;
  • producers, showrunners who want to improve their skills in screenwriting and communication with the authors.

    the quantity is limited (12 people in a group)

    at the end of the workshop participants will receive certificates of completion of the workshop


    registering until 20 of May

    the price per person 950 EURO


    registering after 20 of May

    the price per person 975 EURO


    registering after 26 of May

    the price per person 1000 EURO

    100 % prepayment

    Registering to the course

    if you have any questions:

    please call: +380935159396

    or write at the email:

    The newspaper article intervieew with writer and script writer Nicos Panayotopulos, translated from the Greece to English:

    Nicos Panayotopoulos has been one of the capable legends of modern Greek reality for years. We discuss on the occasion of his latest collection of "Restless Edges" (), A sequence of stories that draft the vocabulary of absences and desires, people who crumble through their daily doubts.

    - In the last year we have been experiencing an extended period of pandemic insecurity. Social cohesion is being tested as well as leadership. We hardly realize that we are no longer invulnerable, elementary contact has subsided, conspiracies have flared up. As a writer with experience in public space how do you experience all this?

    Nicos: You don't need any terrible experience to scare anyone! The other day, in the Resurrection, the interceptor priest was not satisfied with the presence of the world - he asked the masked believers to stay and communion! At the same time, participation rates in vaccination cause painful surprise and wonder. I think even in the age of over-information people don't learn or how, however, they learn too slowly... I'm not particularly optimistic - I know we won't invest in education. Hopefully, at least, until next pandemic not to forget what it means to have a reliable public health system.

    - Many say that in unprecedented situations like now, the literature and art in general, can find appropriate ground and ′′ describe ′′ the treaty beyond the trivial ones. How much does this apply to you or not?

    Nicos: I think in the nature of Art, therefore literature, is to identify and highlight the unprecedented of the human treaty even when circumstances do not dictate it with such intensity. Right now, news coming from India or Brazil, say, goes beyond any literary intent. Unprecedented situations lead people to their limits more often. And this uncharted territory can be a privileged field for art.

    - The time of our collective course has changed in recent years in Greece or can it happen in the future? And in which direction do you believe?

    Nicos: I don't see any collective in our course. Direction - illegible for now - will be the recommendation of contradictory torques developed within a fragmented society, a society that is reported and reportedly, synthetic pursuits, no aesthetics, no vision, no even - and this is the worst - one elementary code of values.

    - What role have mass media played in the way of textual thinking? We see for example the first person dominating, and a multitude of autobiographical content posts. How do you see this turning out?

    Nicos: We write - among others - to be read. And social media offered, unexpectedly, an audience to everyone. No harm this far. Not autobiographical content posts are the problem, but their targeting. Easy ′′likes′′ can be a trap. It's not enough for raised thumbs and colorful hearts to justify the literary framework of self-referent posts. On the other hand, I never saw so many books discussed in such an extent - although not necessarily in capable depth.

    In what way do the limbs worry about in your latest collection of short stories and what are those ends?

    Nicos: The heroes of my book stories don't sleep peacefully at night. Tortured by their denials and failures, anxious for their mistakes and sins, crushed by remorse for what they did or omitted, for what they said or silenced. The common denominator of their stories is the ungodly erotic passion.

    In ′′ Restless limbs ′′ we see elements of your life becoming fiction material and fiction involved in at least plausible incidents. Autobiography and fiction have separate directions? Are they involved and to what extent? Overseas autofiction to rise rapidly. What need is behind this rise?

    Nicos: Someone wiser than me has said that there is no fiction without an autobiographical basis. This has always been the case. If I have to add my cleverness I will say there is no autobiography without fiction interference. Proportions are different every time. As for autofiction, it is certainly not today's discovery - this is probably a tag of publishing marketing.

    In the latest collection of short stories we see you dominating this that we say verbal speech. The daily dialogue or even the internal monologue. What process do you follow to achieve this tangibility of the protagonists?

    Nicos: Thank you for observing. It takes, you see, enough effort to enter the life of your heroes, to look at the world for a while through their eyes, to finally speak their ′′ language To me, my heroes language is every time the way to unlock their world.

    In the book, we watch people who are in an oscillation. Love relationships and family either stay about incomplete, or contain the gaps of a life with obstacles. How much do our little absences, our doubts, our escaping thoughts define us?

    Nicos: We are the sum of our choices: our absences - small and large - define us as much as our presence - sound and low-speaking. Our doubts carry the same weight as our certainties, though the latter may prove destructive more often - exactly what goes for our escaping thoughts and obsessions.

    What can literature mean to you? What's its materials?

    Nicos: Literature for me, as a writer, is the land of absolute freedom. Literature for me, as a reader, is the remarkable - no matter how much it seems imperfect, or perhaps even exactly that - trying to express the meaning of life. Her materials are language and human experience.

    Are both the pandemic and the crisis showing us how the model of established state culture structures in our country should change or just all it takes is good management?

    Nicos: If we had decided that cultural product is a necessity and not a necessity, then the model of state culture structures should be negotiated with the sole purpose of its greater effectiveness.

    What motivates you and you keep writing and sinking into stories?

    Nicos: My mother was telling me a story from the occupation. In the year of famine, a woman in Chalandri went out to harvest vegetables to eat with her husband. When she returned, she couldn't open the door of her house. Her husband had starved to death and his body was preventing the door from opening. This story has long haunted my nights. That time I had seen a cover of Orwell's Animal Farm in cartoons. It must have been the same time that I started studying and happened to start with Captain Nemo of July Verne. This is how the damage happened - I think stories are my only weapon to get through this life. I don't know any other way...