INTRODUCTION TO SCREENWRITING SYLLABUS FRIEDMAN & SERGE

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1 INTRODUCTION TO SCREENWRITING SYLLABUS FRIEDMAN & SERGE COURSE DESCRIPTION: Introduction to Screenwriting at CHAMPS Charter High School gives students a foundation in the principles and techniques of writing for Film and Television. Areas of focus include story structure, character development, tone, genre, and attention to audience. Equal consideration is given to both the technical and creative aspects of the medium. Using industry standard Final Draft software, students will develop and produce finished works at a level that is both effective and reflective of individual voice. GOALS:! Students will become familiar with a variety of approaches to screenplay formatting and style! Students will develop confident critical thought and understanding of the written word and its function in the creative process! Students will understand the fundamental relationship between the continual practice of writing and its effect on execution! Students will isolate, describe, and create the essential building blocks of any screenplay! Students will develop a deeper understanding and appreciation of the revision, editing, and polishing processes and apply that understanding to their own work! Students will discover the personal "voice" that identifies their writing! Students will continue their growth as motivated, self-directed learners! Students will craft finished works including but not limited to character studies, dialogues, scenes, analyses, and a completed short-form screenplay TEXTS: Story by Robert McKee, Screenplay by Syd Field, Making Movies by Sidney Lumet OUTLINE: FALL SEMESTER Unit One: The Tool Shed - Why use a wipe when a pan will do? In Unit One, students learn the fundamental "tools" of screenwriting: the nuts and bolts terms, techniques, and formatting of scripts for both TV and Film. In addition to a Glossary of Terms provided, close reading of Chapter 12 of Syd Field's Screenplay offers a framework for the language of screenwriting, teaching students the difference between a shot and a slugline, an angle or an action. Hands-on practice with Final Draft software affords students the opportunity to achieve and readily demonstrate mastery. "Fill in the Format" -- identification and proper labeling of formatting terms in an existing screenplay "Following the Format" -- composition of a two-page scene employing key elements of screenplay formatting and effective use of Final Draft software Unit Two: Building Character - And on the first page, the writer created Bob. Movies (and TV shows) are about people: their lives, their loves, their losses. Our ability to relate to, connect with, and believe in a character is at the core of a successful story. (more...)

2 Unit Two (continued) An in-depth examination of chapters devoted to character in both Sidney Lumet's Making Movies and Robert McKee's Story gives students a clear understanding of the elements that make up a rich, complex, and most importantly, believable personality. Analysis of archetypal characters such as Tony Soprano and his dysfunctional "families" further illustrates the effective introduction of the traits, tendencies, and ticks of well rounded, on-screen personas. Students explore and implement the development of character in a two-stage approach. First, detailed character studies are created of both real-world and fictional people. Then, students construct scenes to establish the character and explore his or her motivations, desires, and actions in a variety of given circumstances. creation of two word, detailed character studies, one real, one fictional crafting of two-three page scenes that introduce a character and explore motivations, desires, and actions Unit Three: The Problem - Why avoid conflict when you can create it? The overarching idea put forward by screenwriting guru Robert McKee is that structure is the key to story, and at the core of structure is a "problem" or, as McKee calls it, "inciting incident," a conflict that puts everything in motion. Extensive examination and discussion of McKee's work illuminates for students the importance and specific role of conflict, both internal and external, in the creation of a screenplay. Exposure to relevant scenes in existing films, specifically The Godfather, provides a springboard for students to create their own conflicts and write, edit, and revise an original, complete "inciting incident" scene. drafting, revising, and polishing a complete 3-4 page "inciting incident" scene "A test you can't refuse..." -- identifying & analyzing conflicts in The Godfather "My Three Conflicts" -- composition of a series of scenes in which a complex character is faced with all three dimensions of conflict Unit Four: A Method to the Montage - There's more than one way to skin a story. With only two hours to tell a story (unless you're Paul Thomas Anderson), sometimes time needs to be cut down, a character needs to be cut up, or a sequence of shots needs to be cut together in a way that is both effective and artistic. Thanks to Pixar, the process of employing techniques such as montage, flashback, and varying approaches to action sequences is made incredibly easy to both examine and imitate. "Of Mice and Cats" -- translation of an iconic action-driven Tom & Jerry cartoon into script form "It's a Montage" -- integration of montage into a short form screenplay "The Dirty Dozen" -- timed writing of a completed script showcasing all elements introduced during the fall semester Introduction to Screenwriting -- Friedman & Serge 2 of 5

3 SPRING SEMESTER Unit Five: Structurally Sound - So, tell me a story... Having successfully created character and conflict in the fall semester, students now design and construct the beats of the story -- the plot. A thorough investigation of numerous chapters dealing with story design in both Story and Screenplay provides students an in-depth understanding of how to economically and effectively build a compelling narrative. Particular attention is paid to linear versus non-linear storytelling, as employed in Chinatown and Rashomon respectively, instilling a deeper understanding of how plot is the mechanism by which characters, conflicts, and ultimately resolutions play out on the screen. Drafting and completion of a detailed outline enables the creation of a written treatment reflective of current industry practice. "Look Who's Talking" -- same story, different povs. "3CP0" -- creation of a story outline in the form of a written treatment "Talk to Me" -- oral presentation of a "pitch" to the class & industry professionals Unit Six: The Conversation - Let's talk about dialogue... Actors without lines are like shoes without feet; they're not going anywhere. The lines we all love to note and quote in films emerge from well-crafted dialogue that captures the essence and voice of characters. Key chapters in all three major texts focus on the importance and artistry of writing dialogue. Selected scenes and interactions amongst characters populating the stories told in Go and Sherlock allow ample opportunities to explore the function and style used by successful screenwriters to put words in the mouths of the people on the screen. Extensive composition, drafting and rewriting of story-specific dialogue is further enhanced by in-class readings of completed, dialogue driven scenes for the purpose of honing skills specific to word choice, tone, exposition, emotion, and other areas which advance character and story development. "Can we talk?" -- a three to four page scene with a focus on dialogue "Greenlit" -- Work on longer-form screenplay based on instructor-approved treatment and pitch Unit Seven: Adaptation - "McKee says..."...says Nicholas Cage playing Donald Kaufman talking to sibling screenwriter Charlie Kaufman in a line-blurring moment that proves that nobody owns anything, including themselves. "Borrowing" from existing sources outside the genre of film is not only common, it often leads to box office success. Drawing from the world of popular music and social commentary allows for the creation of work based on material with artistic merit (?), proven success, and lasting appeal. "You talkin' to me?" -- adaption of a journalistic essay into a dialogue-driven script "Lyrically Speaking" -- adaptation of a student-selected song in a short screenplay Introduction to Screenwriting -- Friedman & Serge 3 of 5

4 Unit Eight: The Finished Product - Don't Forget the Title Page The course's culminating unit involves employing knowledge and skills acquired throughout the year in the crafting of a short film screenplay. Whether it's an adaptation or a wholly original story, make the choices and accept the challenges faced by screenwriters everywhere: concept, genre, character, conflict, structure, dialogue, tone, theme, etc. Finished products are presented in the form of "table reads" by actors in the school's Theater program. "Greenlit" -- a complete short-form screenplay, either adaptation or original, to be performed as a "table read" by actors (introduced in Unit Five) "FADE OUT:" -- timed writing of a completed script showcasing all elements introduced during the fall semester INSTRUCTIONAL METHODS:! Primary: collaborative assignments, discussion, lecture, writing practice, viewing, oral presentation! Supplemental: reading, guest speakers, research ASSESSMENT: Grades are weighted for each semester as follows: Key Assignments/Projects 40% Classwork/Homework 30% Participation 20% Final Exam 10% A (90-100), B (80-89), C (70-79), D (60-69), F (less than 60) CLASSROOM RULES & GRADING POLICY:! Respect yourselves and others by following the age-old axiom Do unto others as you would have them do unto you. In a nutshell, that means no name-calling, insults, or language that s derogatory in any way.! Be here, and be on time. Self-explanatory. Absence and tardiness will have a deleterious effect on your participation grade, not to mention your learning.! Be Prepared! Always be at your keyboard and ready to write.! Late Work is only accepted with the understanding that it comes at a cost. For major assignments: 10% per a day for three days. After the third day, late work will not be accepted. To be considered on time, all assignments, must be turned in at the beginning of class on the date due. CLASSROOM RULES & GRADING POLICY (CONT'D): Introduction to Screenwriting -- Friedman & Serge 4 of 5

5 ! Cheating is a big mistake. All work must be your own. If not, besides earning zero credit, you ll find yourself travelling down the slippery slope that includes, behavior logs, office referral, parent conference, and possible suspension.! The No list: Food, candy, gum, beverages (except water) or snacks, hairbrushes, make-up, nail polish, cell phones, or any other electronic devices. Coffee is permitted in designated areas only. Please review this syllabus with your parents and have them sign below, then cut off the bottom portion and return it by Thursday, August 25th. Save the top portion for your reference We the undersigned have reviewed and accepted the syllabus for Friedman & Serge's Introduction to Screenwriting class. Student: (print name) Parent: (print name) (signature) (signature) Date: Period: Introduction to Screenwriting -- Friedman & Serge 5 of 5

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