Answers about who the course suits, how the modules run, what practice involves and what you can realistically expect to take away.
These answers cover the points learners ask about most often before they begin. If yours is not here, the contact page is the place to send it.
It suits aspiring and working writers, producers and presenters who need scripts for live video segments. You do not need broadcast experience. Comfort with writing in English and a willingness to read your own work aloud are the main starting points, since spoken delivery is central to every module.
No formal prerequisite is set. You should be able to write clear paragraphs and be ready to practise regularly. Some familiarity with how a short programme is organised helps, but the briefing module explains the basics of audience, topic and target duration from the start.
You work through writing for the ear, briefing and outline approval, presenter introductions, programme transitions, timing and live flexibility, and drafting with revisions. Each module combines short explanations, demonstration scripts to study and practical writing tasks that you complete and receive comments on.
They are short original scripts on neutral educational and cultural topics, written to show a technique in use. They are demonstrations for study. You read them aloud, time them and discuss why a line works, then apply the same choices to your own briefings.
Instructors read your outline and your full draft, then give written comments tied to specific lines. They explain how the wording will sound when spoken and suggest a direction. You revise and send a second version, which is how the revision round in the course is practised.
No. The course does not issue accredited certificates and cannot promise work or earnings. It teaches a method and gives you revised practice scripts that you can show as evidence of how you brief, outline, draft and revise.
Tasks are sized to be finished in one sitting, usually an outline or a short segment draft. Timing a script and reading it aloud takes extra minutes. You can repeat a task as often as you wish before moving to the next module.
Not at present. The site offers a contact form where you can describe your audience, topic and target duration, and ask about the course. The team replies to enquiries directly and explains the next step in plain terms.
A little preparation makes the first module easier. You do not need special equipment, only a quiet place to read aloud and a habit of writing and revising in small, regular sessions.
Bring a notebook or a document you can mark up, and a stopwatch or a phone timer. A quiet spot matters because you will read every line aloud. It also helps to keep a few spoken pieces you admire nearby, so you can notice how short sentences and clear links sound when delivered.
Start from the briefing, not from the first sentence. Write down the audience, the topic and the duration, then sketch an outline before drafting. Read the draft aloud, mark where you stumble and shorten those lines. Time the result and note where a cut could be made if the segment must shrink.
Read comments once without changing anything, then decide which ones serve the audience and the duration. Revise in a separate version so you can compare. Keep short notes on what you changed and why. Those notes become a useful record of your decisions and of how your writing improves.
Send your audience, topic and target duration through the contact form, and tell us what you want to write. We will reply with the module that fits and the next step.
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scenezolix is a practical course in writing spoken scripts for live video segments, presenter introductions and programme transitions, taught from briefing through to revision.