21/22 . 10 . 2013


PRICE: 3790



Etgar Keret is an Israeli writer and filmmaker known for his short stories, graphic novels,
and scriptwriting for film and television. Etgarâs first feature film, which he directed with his
wife Shira Geffen won the Golden Camera award in the Cannes Film Festival. His books have
received international acclaim and have been published in more than 22 languages.
As a filmmaker, Keretâs first short film Skin Deep won prizes at several international film
festivals, and was awarded an Israeli Oscar. Jellyfish , was his first feature film as a director.
As well as winning the Camera DâOr at Cannes he and his partner Shira Geffen won the Best
Director Award from the French Artists and Writersâ Guild. Keret has also worked in Israeli
television and film. In 2006, Wristcutters: A Love Story, a dark comedy/love story based on
Keretâs novella Knellerâs Happy Campers, premiered at the Sundance Film Festival.
$9.99, a stop motion animated feature film, was released in 2009. Written by Keret and
directed by Tatia Rosenthal and featuring the voices of Geoffrey Rush, Anthony LaPaglia.
Over 40 short films have been based on his stories. In 2010 a short feature film based on
Keretâs story was released. An Exclusive novella was adapted and directed by the young Polish
director Krzysztof Szot. The film, also known as WyÅÄcznoÅÄ, was presented at the Cannes Film
As a writer Keretâs first published work was Pipelines, His second book, Missing Kissinger,
caught the attention of the general public. In 1998, Keret published Knellerâs Happy Campers.
His collection The Nimrod Flipout was chosen by the L.A. Times and the Boston Phoenix as
one of the best books of 2006. In 2007 he was shortlisted for âthe worldâs richest short story
awardâ, for his collection Missing Kissinger. In Israel he has received the Book Publishers
Associationâs Platinum Prize several times, as well as the Prime Ministerâs Prize, and the
Ministry of Cultureâs Cinema Prize. In 2006 he was chosen as an outstanding artist of the
prestigious Israel Cultural Excellence Foundation.
In 1993 he won the first prize in the Alternative Theater Festival in Akko for Entebbe: A
Musical, which he wrote with Jonathan Bar Giora.
In 2010, Keret received the Chevalier (Knight) Medallion of Franceâs Ordre des Arts et des

What others have to say about Etgar:
âA brilliant writerâ¦completely unlike any writer I know. The voice of the next generation.â â Salman Rushdie
âKeret can do more with six . . . paragraphs than most writers can with 600 pages.â â Kyle Smith, People
âOne of the most important writers alive â enchantingly wittyâ â Clive James

Workshop Description
Over two days the workshop will discuss the principles and methods of writing. You will be given insight of problems encountered in depiction of characters and plot. Examples from Keretâs work inprose writing and films will be presented discussed and analyzed.
The workshop will stimulate story ideas, help writers develop those stories and find theirvoices. It will also pay attention to the writing process and look at methods to promote regular writing habits. A variety of exercises and explanations of different aspects of storytelling will be presented. These exercises might seed new ideas but also aim to open the participantsâ minds to new ways of thinking. It will also provide you with the concepts and practices you need to be aware of before diving in, such as Ideas generation, theme, plot, tone and character.
The workshop will only be available to a small group of 25 people maximum, enabling the one on one exchange of knowledge and feedback.
In the workshop Etgar will also explore and explain his 10 Commandments for writing, which are the following:

1. Make sure you enjoy writing.
Writers always like to say how hard the writing process is and how much suffering it causes.
Theyâre lying. People donât like to admit they make a living from something they genuinely
Writing is a way to live another life. Many other lives. The lives of countless people whom
youâve never been, but who are completely you. Every time you sit down and face a page and
tryâeven if you donât succeedâbe grateful for the opportunity to expand the scope of your
life. Itâs fun. Itâs groovy. Itâs dandy. And donât let anyone tell you otherwise.

2. Love your characters.
For a character to be real, there has to be at least one person in this world capable of loving it
and understanding it, whether they like what the character does or not. Youâre the mother and
the father of the characters you create. If you canât love them, nobody can.

3. When youâre writing, you donât owe anything to anyone.
In real life, if you donât behave yourself, youâll wind up in jail or in an institution, but in writing,
anything goes. If thereâs a character in your story who appeals to you, kiss it. If thereâs a carpet
in your story that you hate, set fire to it right in the middle of the living room. When it comes
to writing, you can destroy entire planets and eradicate whole civilizations with the click of a
key, and an hour later, when the old lady from the floor below sees you in the hallway, sheâll
still say hello.

4. Always start from the middle.
The beginning is like the scorched edge of a cake thatâs touched the cake pan. You may need it
just to get going, but it isnât really edible.

5. Try not to know how it ends.
Curiosity is a powerful force. Donât let go of it. When youâre about to write a story or a chapter,
take control of the situation and of your charactersâ motives, but always let yourself be
surprised by the twists in the plot.

6. Donât use anything just because âthatâs how it always is.â
Paragraphing, quotation marks, characters that still go by the same name even though youâve
turned the page: all those are just conventions that exist to serve you. If they donât work,
forget about them. The fact that a particular rule applies in every book youâve ever read
doesnât mean it has to apply in your book too.

7. Write like yourself.
If you try to write like Nabokov, there will always be at least one person (whose name is
Nabokov) whoâll do it better than you. But when it comes to writing the way you do, youâll
always be the world champion at being yourself.

8. Make sure youâre all alone in the room when you write.
Even if writing in cafés sounds romantic, having other people around you is likely to make you
conform, whether you realize it or not. When thereâs nobody around, you can talk to yourself
or pick your nose without even being aware of it. Writing can be a kind of nose-picking, and
when there are people around, the task may become less natural.

9. Let people who like what you write encourage you.
And try to ignore all the others. Whatever youâve written is simply not for them. Never mind.
There are plenty of other writers in the world. If they look hard enough, theyâre bound to find
one who meets their expectations.

10. Hear what everyone has to say but donât listen to anyone (except me).
Writing is the most private territory in the world. Just as nobody can really teach you how you
like your coffee, so nobody can really teach you how to write. If someone gives you a piece
of advice that sounds right and feels right, use it. If someone gives you a piece of advice that
sounds right and feels wrong, donât waste so much as a single second on it. It may be fine for
someone else, but not for you.

Who is this aimed at?
This course is aimed at writers who want to learn the art of screenwriting or filmmakers who
want to develop their writing skills. Writers who are excited about writing for the screen, who
have a background in writing for other mediums, directors who are seeking to write their
own feature script and writers who wish to establish long-term mentoring relationships with
development professionals.

In partnership with Filmkraft Rogaland AS