DEPARTMENT OF CINEMA AND COMPARATIVE LITERATURE

SCREENWRITING: LONG FORM

Instructor:  Jennifer Proctor                                                                                     

Course Description/Goals:

The purpose of this course is to introduce students to the art and craft of screenwriting through the study of screenplays, films, and instructive texts.  In particular, this course will focus on the standard principles of three-act structure with attention to writing techniques that inspire the audiovisual imagination.  We will adhere to the strict formatting parameters of the standard Hollywood spec script and learn to work productively within the tight constraints of contemporary screenwriting standards.  This course is not simply about producing a final work; it is about harnessing the process and principles you will continue to apply as screenwriters after this class is over.

The main project of the course is the development of a feature length screenplay through the stages of idea generation, character development, pitching, outlining, treatment writing, and the drafting and revision of Act I of the final work.  Several additional exercises and assignments will support this project throughout the course.

In addition, this course will focus heavily on readings about the screenwriting process and the workshopping of classmates’ work.  Because active and critical reading is a significant part of the writing process, these activities are also essential to your growth as a screenwriter.  In this course, students will hone their critical and editorial skills and the application of those skills to their own work as screenwriters.

 Required Texts:

• Making a Good Script Great, Second Edition  by Linda Seger (Samuel French, 1994)

• The Hollywood Standard: The Complete and Authoritative Guide to Script Format and Style by Christopher Riley (Michael Wiese Productions, 2005)

• Selected readings posted to ICON course website

• Optional:  Story by Robert McKee (Regan Books, 1997)

Assignments:

Help!:  One final note—I am here to help.  I realize writing, especially screenwriting, can be an opaque and sometimes frustrating process, and I’m here to assist in transforming it into a rewarding, inspiring, and even fun experience.  Feel free to email me or come by office hours should you encounter questions or difficulties on assignments or any part of the writing process.  I do ask, however, that you make thorough attempts to solve your problem before coming to me.  Like you, my time is limited.  Your classmates are valuable resources, so draw upon them, along with course materials—and if you’re still stuck, then feel free to contact me and we’ll work through it.

Schedule (subject to change; student is responsible for keeping up with changes)

WEEK ONE—PRINCIPLES OF SCREENWRITING

1/16 – Introduction to course, policies, and syllabus.  What is narrative?

1/18—Discuss readings, Assign Premises and Filmography

READINGS DUE TODAY:  Seger, Ch. 1 and 7; McKee “The Story Problem” (ICON)

WEEK TWO—PLOT AND THREE ACT STRUCTURE

1/23—Discuss readings; What is plot?  Define three act structure.  How does structure work?

READING DUE TODAY:  Seger, Ch. 2; McKee “Structure and Meaning” (ICON)

1/25— Workshop premises in groups

Assign Film Analysis #1—THELMA AND LOUISE

READING DUE TODAY:  McKee “Structure and Character” (ICON)

ASSIGNMENT DUE TODAY:  Premises, Filmography

WEEK THREE—EXPLORING CHARACTER AND CONFLICT

1/30— What is character?  Characterization?  Character development?  Assign Character Bios

READING DUE TODAY:  Seger, Ch. 9 - 12

2/1— What is coverage?  Discuss THELMA AND LOUISE

Assign Coverage Report—ROCKIN’ THE SUBURBS

ASSIGNMENT DUE TODAY:  Film Analysis #1—THELMA AND LOUISE

WEEK FOUR—GETTING YOUR ACTS TOGETHER

2/6 –Discuss readings.  How do you build momentum?  How do your three acts fit together?

What is a pitch? 

READINGS DUE TODAY:  Seger Ch. 4 and 6

ASSIGNMENT DUE TODAY:  Character bios

2/8—Discuss ROCKIN’ THE SUBURBS

Assign Film Analysis #2—Character

READING DUE TODAY:  McKee, “Crisis, Climax, Resolution”

ASSIGNMENT DUE TODAY:  Coverage Report

WEEK FIVE—THE PITCH

2/13—Pitches

2/15—Pitches; Assign Step-Outline

ASSIGNMENT DUE TODAY: Film Analysis #2—Character

WEEK SIX—FORM AND FUNCTION OF THE SCENE

2/20—Discuss readings

READINGS DUE TODAY:  Seger, Ch. 5, McKee “Scene Design”

2//22—Workshop step-outline in groups; Assign Treatment

ASSIGNMENT DUE TODAY:  Step-outline

READINGS DUE TODAY: http://www.wordplayer.com/columns/wp37.Proper.Treatment.html,

Riley, Introduction and p. 1-42

WEEK SEVEN—TREATMENTS AND FORMATTING

2/27—Formatting workshop and quiz

READING DUE TODAY:  Riley p. 59 - 89

3/1— Workshop treatment in groups; Assign Short Script

ASSIGNMENT DUE TODAY:  Treatment

WEEK EIGHT—FROM SHORT STUDY TO SCREENPLAY

3/6—Conferences/no class meeting

3/8— Workshop short script; Assign Pages 1-10 of Final Screenplay

ASSIGNMENT DUE TODAY: Short Script

WEEK NINE

SPRING BREAK—NO CLASS

WEEK TEN

3/20—Workshop Pages 1-10; Assign scene presentations

ASSIGNMENT DUE TODAY:  Pages 1-10

3/22—Discuss Purpose of Revision; Theme, Subtext, Subplots

Workshopping cont.

WEEK ELEVEN

3/27—Scene presentations

ASSIGNMENT DUE TODAY:  Hand in Original AND Revised Pages 1-10

3/29—Scene presentations

WEEK TWELVE

4/3—ASSIGNMENT DUE TODAY:  Pages 1-20; workshop in small groups

4/5—TBA/Workshopping cont.

WEEK THIRTEEN

4/10—ASSIGNMENT DUE TODAY:  Pages 1-30; workshop in small groups;

Hand in Original AND Revised pages 1-20

4/12—Workshopping Pages 1-30 cont.

WEEK FOURTEEN—ALTERNATIVE STRUCTURES

4/17—Discuss alternatives to standard three act structure; view clips

ASSIGNMENT DUE TODAY:  Hand in Original AND Revised pages 1-30

4/19—Conferences/no class meeting

WEEK FIFTEEN

4/24— Conferences/no class meeting

4/26—Workshop Revised Pages 1-30

WEEK SIXTEEN

5/1—Workshop Revised Pages 1-30

5/3—Course wrap-up

WEEK SEVENTEEN—FINALS

5/9—Final draft of screenplays and outlines due by 5pm