Emmanuel Oberg

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Emmanuel Oberg is a screenwriter, bestselling author and creative consultant with more than twenty-five years of experience in the Film and TV industry.

After selling a first screenplay to Warner Bros, he has been commissioned as a writer by StudioCanal, Working Title / Universal, Gold Circle and Film4.

He has also designed internationally acclaimed advanced development workshops and modules on thriller, comedy, animation and TV series writing – all based on the Story-Type Method®.

He delivers them with passion to filmmakers all over the world, in-person or online, through a series of popular interactive courses and hybrid events.

"Screenwriting Unchained", "The Screenwriter's Troubleshooter" and "Writing a Successful TV Series", all bestselli
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Emmanuel Oberg I don't really experience writer's block anymore but when I used to, a short procrastinating session reading The War of Art by Steven Pressfield would…moreI don't really experience writer's block anymore but when I used to, a short procrastinating session reading The War of Art by Steven Pressfield would cure it, so most of the advice below comes from applying Pressfield's excellent advice.

When I write, I force myself to do so in the morning (because it works for me, others will prefer working at night or in the afternoon) and I don't leave the office until I've done the job, which usually happens by mid-afternoon. Most days, I can be creative for 3-5 hours, rarely more.

I have no landline and no internet at the office (a secluded workshop I bought a few years ago, which is only a short walk from home), so I have to tether my laptop to my iPhone when I need to do some research online. Because I have a limited allowance for data, I know that I can't spend any non-productive time online at the office, or I'll run out of data before the end of the month. Very effective! I also set my mobile phone and my laptop to "do not disturb" when I'm at the office, so no skype calls or facebook updates. Only my agent and my wife can get through, in case of an emergency.

Killing all distractions really helps with writer's block, because if there is nothing else to do, even writing is better than boredom! So you just write.

One trick I learnt from my directing experience: I try to prepare the next day so that I can hit the ground running. For example, I'll try to leave something easy to start with. I'll prepare a list of what I'm suppose to do (for example, write a sequence of scenes if I'm writing a draft), and I won't go home until it's done. Of course there are days where it doesn't work and I get home depressed, in a bad mood and bark at everyone, but most days, it does work.

I also reward myself with watching a film or playing with one of my daughters if I had a good day.

Depending on the writing stage and the kind of work I'm supposed to do, I often use music to get me started. I find the appropriate track (I usually chose pieces without lyrics or with lyrics in a language I don't understand)to be a great way to get you "in the zone".

After a while, you feel better writing than not writing, so you just write.

The key is in regularity. I stick to a strict schedule when I write, I never take a dentist appointment or arrange a phone meeting in the morning for example. Morning, until mid-afternoon, is allocated to writing and writing only, at least five days a week. Phone calls, appointments, accounting, IT tasks, all that is done at the end of the afternoon or on Saturdays. I try to keep Sundays as a family day, and unless I have a looming deadline that usually works.

My friends know that when I'm writing, I don't see anyone. I retire into my social "writing cave", which usually lasts for a few weeks or a few months at a time, and when I get out I feel like a bear coming out of hibernation, from a social life point of view. It's weird I guess but I do enjoy these writing windows when I fully concentrate on the work at hand.

So my advice is to make room to write every day, even if it's only a few hours, and stick to it, whatever happens (except if a really bad thing happens of course, but that doesn't include small family crisis or the sudden urge to sort your CD collection).(less)
Emmanuel Oberg As Lawrence Kasdan said in a recent interview with John August and Craig Mazin (https://www.youtube.com/watch?v=x9-0O...), no one likes writing (becau…moreAs Lawrence Kasdan said in a recent interview with John August and Craig Mazin (https://www.youtube.com/watch?v=x9-0O...), no one likes writing (because it's so hard). We like having written.

This being said, I do appreciate being my own boss most of the time and I feel privileged to be able to make a living from my passion, so I never complain. I also really enjoy collaborating with other people, and constantly learning from these collaborations.(less)
Average rating: 4.54 · 39 ratings · 5 reviews · 6 distinct worksSimilar authors
Screenwriting Unchained: Re...

4.50 avg rating — 26 ratings — published 2016 — 5 editions
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Writing a Successful TV Ser...

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The Screenwriter's Troubles...

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More books by Emmanuel Oberg…

2025-2026 Screen Ireland Series Rewrite – Stage 1 Completion and Stage 2 Applications

Stage 1 of the 2025-2026 Screen Ireland Series Rewrite Programme was an absolute blast and is now completed!
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Published on November 25, 2025 07:52

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2025-2026 Screen Ireland Series Rewrite – Stage 1 Completion and Stage 2 Applications

Stage 1 of the 2025-2026 Screen Ireland Series Rewrite Programme was an absolute blast and is now completed!
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The Tree of Life by Max Telford
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Fantastic time-travel journey to the origin of life! Entertaining and enlightening, I thoroughly enjoyed reading this well-written book. Clearly the result of an impressive amount of research, yet skillfully delivered in an accessible way to the non- ...more
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Emmanuel Oberg rated a book it was amazing
Writing a Successful TV Series by Emmanuel Oberg
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As the author, I can't really review this book, but until Goodreads readers provide their own reviews, I can try to explain why I wrote it.

Screenwriting Unchained, my first volume in the Story-Type Method series on script development, was primarily a
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