Last updated: September 2026. Written by Josh Hutcheson. See our review methodology.
The verdict: Aaron Sorkin Teaches Screenwriting is the MasterClass writing class we would recommend first — the rare class worth taking even if you will never write a screenplay. The “intention vs obstacle” framework alone is transformative for any narrative writer.
Our rating: 4.8/5 | Best for: Screenwriters, novelists, dramatists, narrative-nonfiction writers | Lessons: 35, 8h 1m | Watch with 30-day refund →
Who is Aaron Sorkin and why does this class matter?
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Aaron Sorkin is one of the most decorated screenwriters working — Academy Award (The Social Network), Golden Globes, Emmys, Writers Guild Awards. His credits include A Few Good Men, The American President, Sports Night, The West Wing (winner of 26 Emmys, including 4 consecutive for Outstanding Drama Series), Studio 60, The Newsroom, Moneyball, Steve Jobs, Molly’s Game, The Trial of the Chicago 7, and Being the Ricardos.
What separates Sorkin from other working screenwriters: he’s articulate about his craft. Most writers can write but can’t teach — the skill is intuitive, hard to articulate, hard to transfer. Sorkin is rare in being able to break down exactly what he does and why, in language that travels across forms. His MasterClass has become the most-cited writing class on the platform for that reason.
You don’t need to want to write screenplays to take this class. Novelists, playwrights, narrative nonfiction writers, even content marketers report Sorkin’s framework changing how they think about scenes, dialogue, and structure.
What’s in Aaron Sorkin’s MasterClass
- Length: 35 lessons, 8 hours 1 minute total (verified on MasterClass on 25 September 2026)
- What MasterClass says it covers: Sorkin’s “rules of storytelling, dialogue, character development, and what makes a script actually sell”, with lessons on developing characters, testing story ideas, writing captivating dialogue and research
- Format: Sorkin teaching to camera, using his own produced work — A Few Good Men, The West Wing, The Social Network — as his reference points
What you will actually learn
Scene construction. The class keeps returning to one question — what does this character want, and what is stopping them — and uses it to judge whether a scene is doing any work. That is the idea most people remember from the class, and it gets its own section below.
Testing an idea before you write it. Sorkin spends time on whether a story idea can carry a script at all, before any structure or pages exist. It is the part of the class that saves writers the most wasted drafts.
Character and dialogue. How to make characters distinct on the page and how dialogue carries character and conflict. This is where Sorkin’s own style, fast and argumentative, is most on display; you do not need to write like him to use the principles.
Research and the working process. How Sorkin researches unfamiliar worlds and how he gets from idea to finished script, including rewriting.
The signature concept: intention vs obstacle
If you take only one thing from Sorkin’s class, it’s this:
Every scene needs a character who wants something (intention) and another character or thing in the way of getting it (obstacle).
It sounds simple. The application is profound. Most amateur writing fails because scenes don’t have either an intention or a real obstacle — characters discuss things instead of pursuing things. Sorkin’s framework forces you to identify what each scene is actually doing, and to cut anything that isn’t doing the work.
The framework applies to:
- Screenplays (where Sorkin uses it directly)
- Novels (every chapter as a scene with intention/obstacle)
- Plays (Mamet teaches a similar framework with different language)
- Short fiction
- Narrative journalism and content marketing (the article has to want something the reader is resisting)
This single framework is why Sorkin’s class is recommended to writers in genres he doesn’t even work in.
Watch Aaron Sorkin Teaches Screenwriting →
The strengths
Sorkin can actually teach
This is the rarest combination in writing instruction: a working master who can articulate his process. Most acclaimed writers struggle to explain their craft because so much of it is intuitive. Sorkin breaks down his thinking with clarity and specificity that’s unusual at any level.
He teaches from his own scripts
Sorkin teaches from his own produced work rather than from hypotheticals, so the principles arrive attached to scenes many students already know. Hearing a working writer explain why his own scenes work is the class’s biggest draw, and it is hard to get anywhere else at this price.
The framework travels beyond screenwriting
The intention-versus-obstacle idea and scene-by-scene thinking apply to any narrative form, not only screenplays. That is why we recommend this class to novelists and nonfiction writers too, which we would not say of most screenwriting instruction.
The weaknesses
It’s a lot of Sorkin
If you don’t enjoy Sorkin’s voice (which is sharp, sometimes preachy, often political), eight hours of him is a lot. The class doesn’t pretend to be neutral — it’s Sorkin’s perspective on writing, drawn from his career. Students who don’t connect with his sensibility find the volume harder to absorb.
Some lessons feel repetitive
The intention/obstacle framework gets repeated across lessons in slightly different formulations. This is intentional pedagogy — he wants the framework to stick — but feels redundant if you grasped it the first time. You can skip ahead in some sections without losing the core curriculum.
No genre-specific guidance for novelists
The class is screenwriting-first. Novelists translating the principles work harder than screenwriters. Sorkin acknowledges the cross-form applicability but doesn’t explicitly teach how the techniques adapt to long-form prose.
The political content is divisive
Sorkin’s writing has always carried a particular political worldview (West Wing, The Newsroom). The class examples reflect this. Students with different politics report some friction with the example choices. The teaching itself remains valuable; the examples occasionally distract.
Who should take this class
The Aspiring Screenwriter
This is the screenwriting class we would start with, at any price. Sorkin’s instruction + workbook exercises is the closest thing to a screenwriting MFA orientation accessible without applying to a program.
The Novelist Stuck on Scene Work
If your novel chapters feel flat, Sorkin’s intention/obstacle framework will diagnose why. It is the part of the class most useful to novelists, not just screenwriters.
The Narrative Nonfiction Writer
Magazine writers, content marketers, popular nonfiction authors. Sorkin’s scene-as-unit thinking applies directly to article structure and “how to make ideas dramatically alive” instruction Malcolm Gladwell touches but doesn’t go as deep on.
The Playwright
Sorkin’s stage roots (A Few Good Men was a play first) come through. The dialogue work and dramatic structure principles apply directly to stage writing.
Who should skip this class
The Pure Genre Fiction Writer
If you write category romance, cozy mystery, or other genre work that prioritizes commercial conventions over dramatic craft, James Patterson’s class fits better. Patterson teaches at the level of “what makes thrillers compulsively readable” — more directly applicable for genre fiction than Sorkin’s high-craft approach.
The Pure Pages-Per-Day Tactician
If you want a class on writing productivity, daily routines, or finishing-the-draft methodology, Sorkin doesn’t teach that. He covers process but at the philosophical level. For tactical writing-output advice, look elsewhere.
The Person Sorkin’s Voice Annoys
Honest fact: Sorkin’s voice is divisive. If you’ve watched The West Wing or The Newsroom and the dialogue style irritated you, eight hours of Sorkin teaching will be a slog. Atwood, Rushdie, or Patterson are alternatives within MasterClass writing if Sorkin doesn’t click.
How does Sorkin compare to other MasterClass writing instructors?
| Instructor | Best for | Style | Lessons |
|---|---|---|---|
| Aaron Sorkin | Universal narrative writing | Sharp, opinionated | 35 |
| Margaret Atwood | Literary fiction | Reflective, deep | 23 |
| Salman Rushdie | Storytelling across forms | Literary, reflective | 19 |
| James Patterson | Commercial fiction | Industry-focused | 22 |
| Malcolm Gladwell | Nonfiction | Research-driven | 24 |
| David Mamet | Dramatic writing | Theoretical, structural | 26 |
For full breakdown across all writing classes, see our 10 best MasterClass writing classes ranked.
Sorkin + What: the strongest writing-class combinations
If you’ll take Sorkin plus another MasterClass writing instructor, the strongest pairings:
- Sorkin + Mamet — both dramatic writing, complementary perspectives. Mamet teaches the structural mathematics; Sorkin teaches the cinematic feel.
- Sorkin + Atwood — cross-form perspective. Sorkin for screen, Atwood for literary fiction. Together they cover the breadth of narrative craft.
- Sorkin + Gladwell — for the writer working both fiction and nonfiction. Sorkin for scene; Gladwell for ideas-driven structure.
Final verdict
Aaron Sorkin Teaches Screenwriting earns 4.8/5 in our scoring. It’s not perfect — the volume is intense, some content repeats, the perspective is unmistakably Sorkin — but the core teaching is worth the entire MasterClass subscription on its own. The intention/obstacle framework is the kind of insight that changes how you write permanently.
If you write narrative in any form and you’ll only watch one MasterClass writing class this year, watch this one.
For broader context, see our MasterClass worth-it analysis or MasterClass vs Coursera comparison. Other top writing class options on the platform: see our full writing classes ranking.
Watch Aaron Sorkin Teaches Screenwriting →
Frequently Asked Questions
Is Aaron Sorkin’s MasterClass worth it?
Yes. Aaron Sorkin Teaches Screenwriting is the MasterClass writing class we would recommend first, and among the strongest screenwriting instruction available online at its price. The intention vs obstacle framework alone is transformative for any narrative writer, including novelists and nonfiction writers.
How long is Aaron Sorkin’s MasterClass?
35 lessons, 8 hours 1 minute total, verified on MasterClass on 25 September 2026. Most subscribers spread the viewing over 2-3 weeks, watching 5-6 lessons per session and applying the framework to their own work between videos.
Do you need screenwriting experience for Sorkin’s MasterClass?
No prior screenwriting experience required. Sorkin assumes you can read but not that you can write at any specific level. The class works for complete beginners through working professionals — the depth of takeaway scales with the writer’s existing experience.
Is Sorkin’s class good for novelists?
Yes. Despite being marketed as screenwriting, Sorkin’s class is one we recommend to novelists. The intention vs obstacle framework, scene-as-unit thinking, and dialogue craft all apply directly to long-form fiction.
What’s the “intention vs obstacle” framework Sorkin teaches?
The framework states every scene needs a character who wants something (intention) and another character or force in the way of getting it (obstacle). This identifies what each scene is actually accomplishing dramatically and provides a tool for cutting scenes that don’t have either component working. It’s Sorkin’s signature teaching.
Should I take Aaron Sorkin or David Mamet’s MasterClass?
Both if you can. They’re complementary — Sorkin teaches the cinematic feel and emotional rhythm of dialogue; Mamet teaches the structural mathematics of dramatic writing. If you have to pick one, Sorkin is more universal across narrative forms; Mamet is deeper for stage and dialogue specifically.
Can MasterClass alone teach me to write a screenplay?
It can teach the craft principles but not the industry. Sorkin’s class covers writing the script. Breaking into screenwriting professionally also requires industry knowledge (representation, fellowships, festivals, executives) that MasterClass doesn’t address. Pair Sorkin’s craft instruction with screenwriting industry resources.