The Inside Track for Screenwriting

The Inside Track for Screenwriting with Peter Fox The Inside Track Workshops for Screenwriting has been in existence for ten years .It was founded and is conducted by Peter Fox, who has worked as a Reader and Development Executive at five major Hollywood studios, where he has written coverage on over one thousand screenplays.

Operating as usual

Nia Sioux of 'Dance Moms' Stars in Upcoming Theatrical Movie 'SUMMER DANCE' 09/23/2017

Nia Sioux of 'Dance Moms' Stars in Upcoming Theatrical Movie 'SUMMER DANCE'

My screenplay, Summer Dance, starring Nia Sioux, begins shooting next month in Los Angeles. Thanks to all of my friends, family, and all former students for their support.

Nia Sioux of 'Dance Moms' Stars in Upcoming Theatrical Movie 'SUMMER DANCE' Nia Sioux of 'Dance Moms' Stars in Upcoming Theatrical Movie 'SUMMER DANCE' Press Release - updated: Sep 20, 2017 15:12 EDT LOS ANGELES, September 20, 2017 ( - Nia Sioux has grown up in front of our eyes through her role in the popular TV show "Dance Moms." Through Alexia Melocchi of Li...


There will be a major announcement coming soon. Thanks to all of my friends for your support throughout the years. Keep writing.



Pictured: Peter Fox (center) with Kurt Schiffler and Inside Track alumni Michael Taffuri of Oceanport, on pitch day at Paramount Pictures.
Will your screenplay be next?

12:30-4PM AGES: ADULT FEE: $349
Advanced screenwriting techniques will be covered in this intensive edition of The Inside Track Workshops for Story and Cinematic Structure with Peter Fox. This workshop is designed for the writer who has identified their story, and covers:

• Advanced Cinematic Structure
● Classic, Epic, Three Act, Five Sequence and Anti-Structure Formats
● Advanced Character Development
● Developing Multiple Plots Within the Same Structure
● Advanced Transitional Techniques

Each writer's work will be thoroughly examined in this intensive.
Praise and accolades have been high from past participants of Mr. Fox’s workshops.

“Well respected and with an outstanding reputation in the film community, Peter Fox is a consummate professional in his field. Peter’s knowledge about, and instinct for, story, structure, and character development are impressive. He is a wonderful teacher with a deep understanding of the creative process. His passion for film is reflected in the excellent quality of his work.” - Karen Baldwin, Producer, RAY

Count Basie Theatre : Upcoming Session 08/09/2012

Count Basie Theatre : Upcoming Session

October 20, 21 at The Count Basie Center for the Performing Arts, Red Bank, N.J.
My all time favorite theater!
Looking forward to seeing my old friends, new friends and of course, the illustrious Yvonne Scudieri, who makes all good things happen at the CBT. See you in October!

Count Basie Theatre : Upcoming Session Count Basie Theatre: Official Website and Box Office of Red Banks Historic Theatre. Info on The Count Basie Theatre Performing Arts Academy.

Count Basie Theatre : Upcoming Session 07/30/2012

Count Basie Theatre : Upcoming Session

The Inside Track for Story and Cinematic Structure with Peter Fox will be back at The Count Basie Center for the Performing Arts, October 21 and 22. You can pre-register by contacting the Theater. Seating is limited.

Count Basie Theatre : Upcoming Session Count Basie Theatre: Official Website and Box Office of Red Banks Historic Theatre. Info on The Count Basie Theatre Performing Arts Academy.

Remembering Frank Pierson 07/24/2012

Remembering Frank Pierson

Remembering Frank Pierson We begin this note knowing we will “fail to communicate” the heavy heart we carry today with the news that Frank Pierson, the man who wrote the legendary line for COOL HAND LUKE, has passed away at...


Thanks to everyone at THE KATE in Old Saybrook for their hospitality this morning. Thanks to Tom Carruthers and everyone at The CT FILM FESTIVAL. Get ready for some major new dates, that will be announced very soon. Coming in Fall 2012 to RJ JULIA BOOKSELLERS in Madison, CT, THE COUNT BASIE CENTER FOR THE PERFORMING ARTS in Red Bank, NJ, and DUBLIN, IRELAND, January 2013.

Inside Track Workshops for Story and Cinematic Structure With Peter Fox | R.J. Julia Booksellers 04/03/2012

Inside Track Workshops for Story and Cinematic Structure With Peter Fox | R.J. Julia Booksellers

Inside Track Workshops for Story and Cinematic Structure With Peter Fox | R.J. Julia Booksellers Twelve hours over two days, Saturday and Sunday. Elements of Plot, Character, Theme are examined. The process of how to combine these elements to create a working screenplay is covered. DAY ONE"Wow, your life is a movie!" Really? Many writers have heard this phrase, but it is not necessarily true.T...


"If you are not inside, you are outside." Gordon Gekko.


The Inside Track for Story and Cinematic Structure returns to RJ JULIA Booksellers, May 19-20, Madison CT. Details to follow...

Oscar Preview Party at the Quick Center 03/14/2012

Oscar Preview Party at the Quick Center

This was a great night.

Oscar Preview Party at the Quick Center


Party/First meeting with MOBY, day after tomorrow. Daughter Alexis calls me from Florence, Italy! Mom calls from Dublin. And Inside Track Workshop
(Red Bank) Alum Mike Taffuri call to tell me that he has succeeded in getting MR. GREEN into the hands of Ron Howard today! On balance, this was still an incredible week Next VENU: My coverage and interview with Rex Reed at The Quick Center.
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Yael Gertner Eliasoph
VENU - you folks are really the "toast of the town" for promoting the Arts in Connecticut. Nice work Tracey and Mike. Peter Fox: you did a terrific job with chatty Rex -- who only gave you a very tight window to offer your thoughtful and informative questions. I was so impressed with your presence. Let's bring you to Fairfield for more events in the future. I don't know about that flakey guy at the far right with the gold sport coat -- but I guess he can stay too. Congrats for a great tete-a-tete with the great Rex Reed. Bravo! A Loyal Fan.
UnlikeLike · · 30 January at 17:40 · You and VENÜ Arts/Culture/Style//Magazine like this..

Peter J. Fox Hello Yael. Thanks so much for your very kind thoughts! I was in good hands with Dr. Phil up there for support. Everyone in Fairfield treated me like royalty, and I will remember the day forever. I very much look forward to returning to Fairfield U and seeing everyone again very soon.
about a minute ago · LikeUnlike.

Timeline photos 02/09/2012!/photo.php?fbid=371184466241040&set=a.116012861758203.16907.109897505703072&type=1&theater

Peter fox, Rex Reed and Philip Eliasoph at the Quick Center, Fairfield University.


Buy Tickets: Peter Fox 2-day Screenwriting Workshop

Tickets are on sale for April 14 ant 15 in NYC. I am looking forward to presenting in this beautiful space.

Buy Tickets: Peter Fox 2-day Screenwriting Workshop Buy tickets for Peter Fox 2-day Screenwriting Workshop on Saturday 04/14, 09:30AM at The Greene Space


Many thanks to everyone at The Count Basie Theater, in Red Bank N.J., to Susan and Lauren, who were both lifesavers. To my very brave group of aspiring screenwriters, but most of all to Yvonne, who makes all thing possible at the CBT. Cant wait to come back!


Many thanks to everyone at Fairfield University, Dr. Philip Eliasoph, Tracey and Michael and everyone at VENU magazine for their support. To Rob Gallagher, Roland and Mimi, Zita and Dick Christian for sitting in my cheering section. My deepest thanks to the great Rex Reed, who was engaging, entertaining, and completely gracious toward me. Let's do this again!!!


Many thanks to everyone at RJ JULIA BOOKSELLERS for bringing The Inside Track Workshop for Story and Cinematic Structure to their wonderful store in Madison, CT. Although we had bad weather last weekend, the make-up date went off without a hitch because of your wonderful staff. I look forward to returning soon, and urge everyone to support RJ JULIA BOOKSELLERS.
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The Inside Track Screenwriting Workshops

My Weekend: Six hours of lecture at RJ JULIA Booksellers, Madison, CT tomorrow.
Interview and Q&A with the great Rex Reed at FAIRFIELD UNIVERSITY, CT on Sunday. Next week, two new articles for VENU MAGAZINE; MY EVENING WITH REX and a review of a new HBO PICTURE with ROBERT DUVALL; I will see the film in the screening room at HBO. Next weekend, back onstage with ITWFSACS( at THE COUNT BASIE CENTER FOR THE PERFORMING ARTS in RED BANK, NJ, my home sweet home. God is good to me and I am very thankful!

The Inside Track Screenwriting Workshops Begun in 2000, The Inside Track for Story and Cinematic Structure have caught the attention of Hollywood executives and the literary world alike. Presented with passion and intensity, The Inside Track Workshops never disappoint. When you attend, you will see what sets Peter Fox apart from his compet...


Many thanks to my wonder writers in attendance at The Inside Track Workshops for Story and Cinematic Structure at RJ JULIA in Madison, CT. This is a bright, insightful group and are a joy to instruct.


FEE: $279
In this intensive weekend, aspiring writers will learn about story structure as it applies to film, and will learn to construct a working screenplay using Hollywood standards. Character development, story structure and cinematic plot development will be examined in depth; as well as how to get your finished work into the hands of Hollywood decision makers and agents.

Performing Arts Academy Interview with: Screenwriter Peter Fox

You have family members in the film making industry. How big of an influence was that on you?
My Father was a theatrical publisher. His plant was on twenty Fifth Street in Manhattan. From the time I was in kindergarten, he would sometimes wake me before school, tell me to put on a suit, and then drag me into Manhattan with him. I would spend the day with him; meet rock stars, movie stars and producers. He published the souvenir program booklets sold at the shows. He handled the Beatles, the Stones, and Frank Sinatra. When I was 8, Jim Morrison tussled my hair. Then I would go back to school, and tell my school chums, who would mostly respond with blank stares as if I were from Mars. But it was the program booklets that my dad published for the movies that first got me interested in film. I would read the stories of how the movies were produced, and the writers, directors and technical people and their process fascinated me more than the actors or even the films themselves. My mother was a retired ballerina. Her career ended when she began having children, seven in all. She danced with the Royal Ballet of London, and once performed for the Queen of England when she was 18. Us, kids, all seven of us, were required to study ballet. Sunday mornings were for opera, usually Gilbert and Sullivan. My parents were both very cultured people and yes, their influence was huge.

What was it like having your grandmother be a silent film star?
My Grandmother was quite regal. Her Sicilian accent was so thick that when talkies were invented, she could not make the leap. She died when I was five or six, but I have vivid memories of her.

Did she give you any advice for getting into the film industry?
Not directly. But she emphasized reading and literature. She believed in strict discipline and focus, especially when it came to reading and writing. That was a big gift from my grandmother, but I didn’t know it at the time.

What made you transition from performing stand-up to screenwriting?
Stand up comedy is the roughest job in the world. I had always written, from the time I was six or so, and I had tried the stand-up route when I was in college. I had always toyed with the idea of writing a movie, but knew nothing of the process. But once I began, the deeper I got, the more it fascinated me, and the more I wanted to know. I am still learning. Stand- up was lots of work with no reward. Both my parents taught me the importance of being a working artist, as opposed to a struggling one. I wanted to make a living in the film business. I felt that my chances were better as a screenwriter.

You’ve worked with some impressive people in the business, what were some of the lessons you’ve learned?
Among the most important lessons is the importance of “going the distance.” Alexandra Rose emphasized this to me. It is not uncommon for a screenwriter to write thirty or forty drafts of a screenplay before it is ready to sell. David Foster taught me the importance of clear characters, clear conflicts, with genuine dialog, as opposed to dialog that is stilted.

Do you have a certain process when you write?
I spend at least 8 months to a year doing the various steps required before I actually sit down to write the actual screenplay. When I finally arrive at the screenplay stage, I lock myself in a quiet room, ideally in a quiet locale, with absolutely no distractions. Sometimes I go to Key West, (no, not because I love Hemmingway), but mostly I will go to the woods, or at home if all else fails. That part of the process lasts four or five days, fifteen hours or so each day. I emerge a week later, unshaven and exhausted. But to finish is exhilarating.

What was it like being a reader at Universal for Alphaville Pictures?
Intense. Cotty Chubb and James Jacks were great mentors. Very strict, no room for error, but it was great. I read and passed on Good Will Hunting when I was there. It was an early draft, not the version that made it to the screen. When I gave them my coverage, I backed up my opinion with where it didn’t work, and my bosses were impressed.

You were an assistant to producer David Foster. How did this help your career?
Mr. Foster is a living legend. You could sit in a room with him for five minutes and leave the room a changed person. He is that great. His sons, Gary and Greg, also work as producers. He is a great mentor and continues to be one to this day. I worked on The Mask of Zorro during preproduction and it was quite a valuable experience, reading the earlier drafts of the film, meeting Martin Campbell, the director, and the stars. Through David, I also got to work quite closely with Robert Altman, on a project called Wildcard, which, unfortunately, did not make it to the screen.

What inspired you to create The Inside Track for Story and Cinematic Structure?
I attended a workshop in NYC by one of my competitors, and discovered that he didn’t know what he was talking about. I knew that about half of what he was putting out there was just not true. He threw someone out for asking a question. It was then that I figured out that I could do a better job. I had done standup, was a childhood actor, and did not get nervous speaking for large audiences.

What can someone expect to get out of being involved with your workshop?
They will learn how to find their story, place it into a cinematic context, or, if they chose, a literary context. They will learn how to get themselves in front of an A-list agent of film industry decision maker without going through being ripped off at some “pitch fest”, most of which are total rip-offs. They will know how to nail their pitch, make it past the gatekeepers, and stand on their own two feet, without fear, and make their work known.

What lessons have you taken away by this workshop?
What I do is not scripted. It has never been presented exactly the same way twice. I take questions. Each time I present the workshop, I grow, I improve the presentation, and feel humbled and privileged that I have the opportunity to help people find their stories. Many times, people come to the workshop with stories from their own lives. Storytelling is a very healing experience. It helps people cope with terrible things that sometimes happen. It helps people gain closure, or to create a new beginning. So, when they tell me that I have helped them with some aspect in this regard, it makes the sixteen hours of lecture worth it’s weight in gold, to me.

Do you have any success stories of people who have taken your workshop?
One of my former students now works at Paramount as a reader. Another, from Asbury Park, is now deep in the development process with an Academy Award winning producer, and another from Long Branch, has made several pitches in Los Angeles. To be optioned or produced is a steep, tough mountain. One of my students will get to the top very soon. I am not the least bothered by naysayers who say: “yeah, but no one has made a movie yet.” People who make that statement know zero about the film business.

What does 2012 hold for Peter Fox?
The Workshop will be presented in New York City for the first time ever. I have support from a major public radio station in NYC and it will be presented from their space. I am going to travel to Melbourne, Australia, Dublin, Ireland and London, England this year to lecture. Of course, the Count Basie is my home away from home, and I hope that I will always be able to present the course there. I will be interviewing Rex Reed at Fairfield University in CT on January 29th. So far, 500 tickets have been sold, and I am very excited. I will continue to write for both IMAGINE and VENU magazines. I will continue to assist my top two students in their efforts to get in front of major producers, and hope to identify other promising candidates who are ready to make that leap. Last, I am in preproduction on a project of my own, which I hope to begin shooting in Fall of 2012.




Screenwriting workshops and consulting for screenwriters and novelists. Coverage, Script Doctoring.




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