A thoughtful meeting was held at the Supreme Council of Culture focusing on screenwriting, featuring screenwriter Ahmed Mahmoud Abu Zeid. Under the patronage of Dr. Ahmed Fouad Henu, Minister of Culture, and Dr. Ashraf Al-Azazi, Secretary-General of the Council, the event concluded the lecture series of the initiative “The Power in Our Youth,” attracting a wide attendance of young people interested in various cultural and creative fields.

Screenwriter Ahmed Abu Zeid began by sharing his personal experience, explaining that many writers start from a single idea or a “train line,” from which new characters and events emerge, opening unexpected horizons. However, he emphasized that a professional writer cannot remain captive to moments of inspiration or wait for a new character to impose itself on the text; true creativity requires skill and a clear work plan.

He clarified that relying solely on “sudden revelations” is insufficient, as a professional must write continuously, even without the creative spark, because writing is like a muscle strengthened by daily practice. Inspiration may visit a screenwriter occasionally, but it cannot be the sole foundation for building a complete dramatic project, especially under the pressure of production teams during drama execution.

Abu Zeid discussed the relationship between the writer and the production system, noting that filming conditions sometimes require writing scenes for the protagonist before the full dramatic line is complete. He stressed the importance of having a general outline for the series or film, with an initial vision for each episode and a development line for each character, granting flexibility to handle such situations without confusion or losing the essence of the work.

He highlighted brainstorming as a pivotal tool for generating ideas and building multiple story possibilities, whether individually or in groups. Open questions like “What if this happens?” or “How would the hero react if placed in this dilemma?” transform fleeting creative moments into a series of possibilities that can be refined into a mature script.

Abu Zeid affirmed that serious dramatic work relies not only on talent or moments of inspiration but on combining free imagination, organized brainstorming, and professional discipline. Professionalism means constant readiness for production team requirements, not waiting for a magical moment as some believe.

He reminded young attendees that screenwriting as a profession has its tools and methodology, not just a flow of passing moments. He said, “A professional screenwriter should not wait only for moments of inspiration but create his art with his plan, skill, and brainstorming.”

He referred to global references in screenwriting, notably American screenwriter Blake Snyder’s book “Save The Cat,” which had a significant impact on the field. The book’s core idea is that the hero, no matter how harsh or dark, must appear in the first scene doing something that makes the audience empathize with him.

Even if the hero is a professional killer or a psychopathic character, he must show his human side from the start, such as caring for his mother, watering his plants, or saving a small child, so the viewer connects with this hero despite his contradictions.

He cited the film “American Sniper,” where the hero appears as a killer on the battlefield, while his private life reveals his bond with his mother and attention to simple details like caring for his home and small plant. This contrast creates dramatic tension between harshness and tenderness, the secret of a complex character’s strength.

Abu Zeid then discussed dramatic structure as the backbone of any successful work, explaining that the classical structure known as Act Structure (beginning – middle – end) is the most widespread in global and Arab drama due to its sense of symmetry, organization, and ease of following.

He said most dramas, even those followed by housewives at home, rely on this simple structure: a beginning introducing characters, a middle filled with conflicts and confrontations, and an end revealing the outcome, whether victory, loss, or a radical character transformation.

These confrontations test characters’ strength and reveal their true traits. The classical structure remains successful because it gives the viewer a sense of completeness and presents an easy-to-follow story regardless of the subject.

Abu Zeid added that drama is not limited to the classical structure; there are more complex patterns like multi-character and conflict structures where endings vary across multiple storylines, as seen in some social films.

He mentioned the Real-Time Structure, which follows events almost moment by moment, keeping viewers in constant tension, focusing on a short event presented with intense timing that captivates the audience.

This structure keeps the viewer highly engaged as it runs in real-time rhythm, leaving no chance to detach from events. Some creators use more modern forms like Mosaic or Parallel Structures, where multiple storylines and characters intersect in one or different times, creating a mosaic-like painting that attracts viewers.

In conclusion, Ahmed Abu Zeid emphasized that choosing a screenplay structure is not just a formal decision by the author but represents the core dramatic experience that determines how the audience interacts with the story and whether they remain engaged until the end or lose focus and interest. A smart writer chooses the structure best suited to his subject and characters, not the easiest or most common dramatic form.