CLASS OBJECTIVES INTRODUCTION TO SCREENWRITING I X 430A FILM & TELEVISION 3 UNITS INSTRUCTOR: ALISON LEA BINGEMAN

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1 UCLA Extension Writers Program Public Syllabus Note to students: this public syllabus is designed to give you a glimpse into this course and instructor. If you have further questions about our courses or curriculum, please contact the Writers Program at (310) or via at writers@uclaextension.edu. We are happy to answer any questions and to help you find the best class to achieve your writing goals. INTRODUCTION TO SCREENWRITING I X 430A FILM & TELEVISION 3 UNITS INSTRUCTOR: ALISON LEA BINGEMAN Screenplay writing is a rigorous craft and, at its best, an art. In this course, learn all the key elements of writing feature film screenplays, including story structure, plot, scene development, characterization and dialogue. A series of writing assignments guides you toward mastering the basics of screenwriting, which you use to conceptualize and begin work on your own script. The course goal is to create a four-to-five page outline, which clearly delineates your script's beginning, middle, and end. This course is required for admission into the next course in the sequence. Enrollment limited to 20 students. CLASS OBJECTIVES Writing for the screen can be one of the most challenging and exhilarating experiences you will ever have. To see actors embody your characters and say your lines, to watch directors take your vision and create a world others can inhabit are some of the most rewarding experiences you can have as a writer. People say a good movie always starts with a great script. But it s more than that: a great script must start with a compelling story and characters no one can stop watching. In this 10-week course, you will learn the fundamentals of screenwriting from telling the story that matters and creating unforgettable characters to constructing powerful scenes and completing a detailed step outline. At the completion of this course, you will be ready to plunge into your first draft screenplay. Through lectures, workshops, group discussions, weekly viewing, reading and writing assignments, you will be introduced to this compelling and popular art form. Each week s class will include a short lecture focusing on both the craft of screenwriting and the elements common to all scripts, regardless of genre. Discussions will focus on specific topics covered in the lecture sessions and on each week s written assignment. During the course, various films will be required for viewing, as indicated in the weekly schedule.

2 Students will be required to write a number of short assignments focusing on specific elements of screenwriting tools or elements. You will then develop a single story idea into a complete, polished outline for a full-length feature film. INSTRUCTOR S OFFICE HOURS I am available before class for ten to fifteen minutes by appointment only if you need to meet me in person. Give me 48 hours at the latest to respond. Please remember I am a working writer with deadlines of my own. If you have any administrative questions regarding this class, please contact the UCLA Extension Writers Program directly at or writers@uclaextension.edu. TEXTBOOK Lajos Egri, THE ART OF DRAMATIC WRITING is the required textbook for this course. There will be additional reading from various texts on screenwriting, which are posted online as handouts. I ve provided a booklist at the end of the syllabus. GRADING INFORMATION The grading in the class is based on several factors: weekly assignments, class participation and the completion of the final outline. Keep in mind there is a strong workshop component to this class. Students will be asked to read and offer constructive suggestions on their fellow writers work. This participation constitutes a part of the student grade. All written work is to be submitted in class on its due date. Being a successful writer means meeting deadlines. All assignments must be handed in by the day of class to receive credit. I base my grading on a 100-point system that breaks down as the following: -Weekly assignments 30 Points - First Draft Outline 15 Points - Final Outline 25 Points - Class Participation 30 Points - TOTAL 100 Points A NOTE ABOUT WORKSHOPPING The in-class workshop element to this course will be run, as much as possible, like a professional writers room. Meaning, the goal of each one of us will be to ensure that every member of this class produces a first rate feature outline and will be ready to start a first draft screenplay at the completion of this class. A portion of your assignments will be to read and comment on other classmates work. You will also receive from them and me comments on your own writing. A rule of thumb to use in critiquing other writers work is to always start with the positive. What did you like about the writing? Be

3 specific ( Great opening, the first scene grabbed my attention and my interest was held throughout the First Act ). Critique must always be made in the spirit of improving your fellow writers work. Avoid subjective remarks such as Your story doesn t work, or, I just wasn t into your characters. Instead, offer constructive criticism, For her to be more sympathetic, consider writing an earlier scene showing why your heroine makes those kinds of decisions. In my feedback, I will offer suggestions for improvement, even if you chose not to re-write. The class will be divided into smaller groups in order for you to give each other more indepth feedback. You will be expected to read the work of each student in your group that week and offer suggestions and critique in class or on your own outside of class. The groups will change every other week to give you a chance to get to know each student s work. SUBMITTING WEEKLY ASSIGNMENTS You will be submitting your work on a weekly basis. I would like you to hand them in to me personally. You will also need to bring copies of your story work to share with your group members. This way, your fellow classmates can give you feedback on your work during the week. The assignments are clearly marked as Next Week s Assignments. The assignments include writing exercises, readings, viewing of certain films and the gradual composition of your outline. It is very important for you to complete your assignments on time for they are designed to prepare you for the work done in class each week. Your written assignments must be submitted in hard copy on they day they are due. Weekly assignments are due on the day of class. NO LATE ASSIGNMENTS WILL BE ACCEPTED. As for my feedback on writing exercises, I will not give written notes on each exercise submitted. Rather, an examination of them will be conducted in class. I will be giving you in-depth notes on your premises, treatments and draft outlines. Some of this material will be addressed in class as well. My turnaround for notes is one week. CLASS SCHEDULE: WEEK 1. July 7, 2010 LECTURE TOPICS: COURSE OVERVIEW 1. Creating Movies. 2. Film vs. Prose; Film vs. Theater. 3. The art of Visual Writing. 4. Where to start: Tell me a Story. 5. Where do stories come from?

4 6. Character and Premise. 7. Creating a premise for your film. 8. What is a logline? IN CLASS: The class starts with introductions. Come prepared to talk about where you come from and the events in your life that have made you want to be a writer. The lecture will be followed by workshopping several student feature ideas. We will end the session by dividing the class into working groups to give feedback on student material. ASSIGNMENT A and C are due, written up and printed out, in class July 14, ASSIGNMENT A: Write up your ideas for a feature film minimum one idea, maximum three. Include a logline and a premise. ASSIGNMENT B: Read Lajos Egri, THE ART OF DRAMATIC WRITING, pp ASSIGNMENT C: View Lars and the Real Girl and write up its premise. WEEK 2. July 14, 2010 LECTURE TOPICS: CHARACTER 1. Research on character: or how to become a student of the human condition. 2. Environment: where does your character come from? 3. Creating a backstory. 4. What is a protagonist, antagonist? 5. Fleshing out Pivotal characters. IN CLASS: After our weekly check-in, we will have a brief discussion on Lars and the Real Girl and its premise. After, we will workshop several more student story ideas, the goal being that most of you will come away with a grasp of which story you are going to write. Following the workshop, there will be a lecture and discussion on creating characters for your stories. ASSIGNMENTS A and B are due in class July 21, ASSIGNMENT A: Write a two-page (minimum) character biography for your main character. ASSIGNMENT B: From your premises, choose the one you want to write. Revise. ASSIGNMENT C: Read Lajos Egri, THE ART OF DRAMATIC WRITING, pp ASSIGNMENT D: Read the script for Sunset Boulevard.

5 WEEK 3. July 21, 2010 LECTURE TOPICS: MORE ON CHARACTER 1. Introducing and building a character over the course of a story. 2. Action comes from character s emotional need. 3. Dramatic problem of main character. 4. Character arc: goal, obstacle, and resolution. 5. Super Objective: the unconscious drive of your character. 6. Conflict: how it must be specific and identifiable. IN CLASS: We will begin with the weekly check-in, followed by a lecture and film viewing to show how to set up characters in film. After, we will workshop several more student story ideas and their protagonists. We will conclude by re-dividing the class into new working groups for feedback for the next two weeks. ASSIGNMENTS A, B and C are due in class July 28, ASSIGNMENT A: Based on my notes and your colleagues feedback, write up your film idea in premise form, complete with logline and a paragraph outlining its beginning, middle and end. ASSIGNMENT B: Write up one or two more character biographies (one page each) for your antagonist and another (pivotal) character. ASSIGNMENT C: View Sunset Boulevard. Write a short paragraph identifying the film s premise including its beginning, middle and end. WEEK 4. July 28, 2010 LECTURE TOPICS: 1. Overview of Story Structure. 2. Analysis of Sunset Boulevard. Identifying its three act structure. 3. Creating momentum in your story. 4. The Inciting incident. 5. Rising action. 6. Subplots. 7. Turning points. 8. Twists. 9. Climax. 10. Resolution. 11. Discussion on treatments.

6 IN CLASS: Weekly check-in. The lecture on story structure will be illustrated by excerpts from Sunset Boulevard, followed by a pitch session where students will get a chance to pitch their film stories to the class. ASSIGNMENTS A and D are due in class on August 4, ASSIGNMENT A: Write a treatment of your film, minimum 2 pp., maximum 3 pp. Comment on at least two other students treatments. ASSIGNMENT B: During the week, tell the story of your film out loud to 3 separate people. ASSIGNMENT C: Wells Root, WRITING THE SCRIPT, chapters 3-5. ASSIGNMENT D: watch BATMAN BEGINS and identify Act One with act break. WEEK 5. August 4, 2010 LECTURE TOPICS: ACT ONE 1. Opening image. 2. The hook. 3. Establishing Tone. 4. Introducing your characters. 5. Backstory. 6. Inciting Incident. 7. Introducing secondary characters. 8. Writing the first Act Break. IN CLASS: In this weekly check-in, we ll find out how the pitch sessions went with family and friends what worked, what didn t. Did eyes glaze over or did you get your audience to the edge of their seats? After the lecture on Act One, we will view break down Act One of Batman Begins and define each of the discussed elements. Time permitting, we will break into groups and analyze the student treatments. We will then re-divide the groups. ASSIGNMENTS B and C are due in class August 11, BRING enough printed copies of your TREATMENT to class to distribute to your group. ASSIGNMENT A: Read Linda Seger s Making a Good Script Great. Pp ASSIGNMENT B: Write out first act of your story. ASSIGNMENT C Watch PALE RIDER and write out structure of film from1st Act Break to Second Act Break.

7 WEEK 6. August 11, 2010 LECTURE TOPICS: ACT TWO. 1. Rising action. 2. Character: conflict and tension. 3. Making subplots work. Twists. 4. Accelerating action. 5. Writing the Second Act Break. IN CLASS: Check-in and lecture. A breakdown of Pale Rider s second act in class. More workshopping of student treatments. ASSIGNMENTS A and B are due in class August 18 th, Make sure to bring your printed copies treatments to class to share with colleagues. ASSIGNMENT A: Watch Chinatown and breakdown Act 3. ASSIGNMENT B: Write the Second Act of your story. ASSIGNMENT C: Read HITCHCOCK by Truffaut. Chapter 3, pp WEEK 7. August 18, 2010 LECTURE TOPICS: ACT THREE 1. Crisis, climax, resolution. 2. A discussion of Aristotle and the theater experience, how it produces pity and fear in the audience and how they create catharsis. 3. Writing your climatic sequence. 4. Resolution of character arcs and full realization of your premise. 5. Tying up subplots and minor character arcs. 6. FADE OUT writing a satisfying ending. 7. Outlines: creating a road map for your script and how to format it. IN CLASS: Check-in and lecture on Act Three followed by a breakdown of Chinatown s Act Three. Continue to workshop student material and re-divide the groups for the last time. ASSIGNMENTS A is due in class August 25, ASSIGNMENT A: Write out First Draft of your outline, taking into consideration notes.

8 ASSIGNMENT B: Watch the film, Juno. WEEK 8. August 25, 2010 LECTURE TOPICS: SCENE STRUCTURE 1. The Spine of your script. Each scene is a vertebrae of the spine (premise) of the script. 2. How does each scene directly relate to your script? 3. How does each one take you to the next step in your story? 4. Scene conflict: Tug and pull. Differing objectives. The why of each objective. 5. Inner conflict: experiencing the opposite emotion of what you are supposed to feel. IN CLASS: After the check-in and lecture, we will take a look at several scenes from Juno to illustrate the salient points of scene construction. Then, we will workshop your outlines. ASSIGNMENT A is due in class September 1, Bring printed copies of your scenes to have your scene be read out loud. ASSIGNMENT A: Write a scene with two characters, your main character and another, in which your main character must do something he or she does not want (such as consoling someone you can t stand). Identify the differing objectives of each character. WEEK 9. September 1, 2010 TOPIC: DIALOGUE 1. It s not so much what they say as how they say it. 2. Creating subtext. 3. No talking heads in this picture. 4. Show, don t tell. Internal problems must be expressed in visual ways. 5. Point of View in your story. IN CLASS: Check in and lecture. We will take a look at a few examples of some terrific dialogue. Then, student scenes will be workshopped out loud. NEXT WEEK S ASSIGNMENT: ASSIGNMENT A is due September 8, 2010.

9 ASSIGNMENT A: Write your final draft outline and POST. WEEK 10. September 8, 2010 TOPICS: OMG! - WRITING THE SCRIPT 1. Creating a safe environment to write: Finding a time and place to write. 2. The Discipline of writing: setting objectives and meeting them. 3. Developing your writing muscle. 4. Enjoying the process: creating soundtracks for your script, writers retreats, etc. 5. Writers Block and tools to circumvent it. 6. Finally, a few words about breaking into the business: script competitions, agents, managers, building contacts, acquiring a thick skin, trusting yourself. ASSIGNMENT: Don t stop writing! READING LIST: The Egri book and the excerpted passages you will find online are required reading. For those of you interested in reading beyond the course, below is a more comprehensive Bibliography: 1. THE ART OF DRAMATIC WRITING, Lajos Egri. The bible for all dramatic writers. 2. MAKING A GOOD SCRIPT GREAT: A GUIDE FOR WRITING AND REWRITING, Linda Seger. A good primer for the screenwriter. 3. WRITING THE SCRIPT: A PRACTICAL GUIDE FOR FILMS AND TELEVISION, W ells Root. A great book that offers sound guidance in writing for both film and TV. 4. SCREENPLAY: FROM IDEA TO SUCCESSFUL SCRIPT, Jule Selbo. A great textbook on screenwriting. 5. ON SCREENWRIT ING, Edward Dmytryk. This book is fascinating in that it gives an old school Hollywood director s point of view about screenwriting. 6. HITCHCOCK, Francois Truffaut. One of the great books on film. 7. ENNEAGRAM, Helen Palmer. Though this book is not about writing, it offers an interesting view of character. I use it to get me thinking. 8. THE SCRIPT IS FINISHED, NOW WHAT DO I DO? K Callan. Basic information about the business of screenwriting. 9. I LIKED IT, DIDN T LOVE IT: SCREENPLAY DEVELOPMENT FROM THE INSIDE OUT, Rona Edwards & Monica Skerbelis. Written by two producers in Hollywood. FILMS FOR VIEWING (some are required to view as assignments, others are for your own interest): Lars and the Real Girl, Juno, Chinatown, North By Northwest, Sunset Boulevard, Knocked Up, The Savages, Indiana Jones and the Temple of Doom, Little

10 Miss Sunshine, Ghost World, Something s Gotta Give, Employee of the Month, Pale Rider, Shakespeare in Love, Batman Begins, Star Wars. FINAL NOTE: Though the thrust of this course syllabus will remain unaltered, I do reserve the right to change some aspects of the syllabus if different needs arise during the course.