ENG INTRODUCTION TO SCREENWRITING - FALL credit hours Tuesdays 3:00-5:45 pm Location: Tompkins Hall G121 Main (North) Campus

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1 ENG330 - FALL INTRO TO SCREENWRITING - Susan Emshwiller 1 ENG INTRODUCTION TO SCREENWRITING - FALL credit hours Tuesdays 3:00-5:45 pm Location: Tompkins Hall G121 Main (North) Campus Susan Emshwiller (sjcoulso) - Instructor sjcoulso@ncsu.edu Phone: Office Location: Tompkins 200 floor, upstairs catwalk Office Hours: Tuesday 1:30-2:30 pm and by appointment Course Description Through lectures, film clips, screenplay examples, collaborative brainstorming, in-class written explorations of specific concepts, and sharing of students work we will explore the craft and art of screenwriting. Students will learn about structure, characterization, creating dynamic dialogue, subtext, subplots, theme, exposition, etc utilizing established screenplay formats. The course will involve studying great films and scripts, participating in critiques, and the writing and revising of original material. Over the course, students will write scenes focusing on specific screenwriting elements, and share and critique these pieces. At the end of the semester the students should have a clear understanding of cinematic storytelling techniques and will have a work-in-progress screenplay. Weekly assignments will include writing scenes based on the subjects explored in class, watching specific films, and/or reading screenplays and book excerpts. Electronic excerpts from books will be provided. Learning Outcomes A clear understanding of cinematic storytelling techniques. Proficiency at employing professional screenwriting format. A work-in-progress script complete with structured outline. Multiple scenes exploring specific storytelling elements. Course Structure The course will consist of a lecture about specific screenwriting techniques and concepts. These will be illustrated with both film clip examples, screenplay examples, and written exercises. Students will be expected to participate in discussions, critiques, and writing during class. Assignments from the previous week will be projected on screen and suggestions for alterations or augmentations given as well as corrections of any screenplay formatting issues. Syllabus is subject to change.

2 ENG330 - FALL INTRO TO SCREENWRITING - Susan Emshwiller 2 Course Policies Attendance is mandatory for each session. Bringing computers to class for writing exercises is encouraged, pen and paper is acceptable. Use of phones is not permitted. WARNING: In our class interactions we strive to show respect and compassion for each other. In our writing work, we do the opposite. We look for conflict and villains of all sorts. The worse the better. There will be film clips, written examples, shared works that may contain violence, sexuality, nudity, offensive behavior and language. We encourage and celebrate risk-taking in the work, not in our real-life interactions. Additionally, because we are exploring structure, we will discuss the endings of several films so be prepared for spoilers. Class 1 AUGUST 22 INTRODUCTION and FORMATTING Introduction of classmates. Why we need stories. Types of Stories. Screenwriter as character Formatting Screenplays. Why and How. Professionalism. Collaborative/Collective Brainstorm of a scene created in class in correct format. "Blocking" Treatments Writing tips. Grading and the Final. Class 2 AUGUST 29 CHARACTER Character ARC. Descriptions in screenplay examples. Flaw/wound/phobia/problem. Foil characters Protagonist/Antagonist Transformation, sacrifice/atonement. ARC. First reveal Class 3 SEPTEMBER 5 STRUCTURE Breaking down assigned film s structure. Aristotle through Campbell s Hero s Journey, Robert McKee etc. Three act structure. Setup/Stasis, Inciting incident, Acts, complications, mid point, reversals, dark night of the soul, climax, sacrifice, denouement.

3 ENG330 - FALL INTRO TO SCREENWRITING - Susan Emshwiller 3 Types of structure. Dramatic Irony. Surprise vs. Suspense. Class 4 SEPTEMBER 12 CONFLICT Types of conflict Writer- job as sadist and masochist. How to make it worse. Plot conflict, scene conflict, beat conflict. What are the stakes? Who loses what? Obstacles to goal. Ticking clock. Examples of killers of Conflict. Class 5 SEPTEMBER 19 DIALOGUE Dialogue as characterization, action, exposition. Interruption, stuttering, realistic Rhythm, repetition, musicality. Cut to chase. Don t recap- unless lie. On-the-nose. Reaction. Silence. Pickup mid-scene. Voice over -- effective vs crutch. Class 6 SEPTEMBER 26 EXPOSITION Info dump, backstory, disguising exposition, Breaking forth wall. Text crawl. Voice over. Title Cards. Three Situations of Knowing. Examples of bad exposition. Exercise in conveying crucial information. Pope in the Pool Class 7 - OCTOBER 3 SUBTEXT Hitting the nail on the head. Some Reasons for Subtext: Culture: gentility, manners, age, class, etc Shame, embarrassment, vulnerability. Squashing emotions: anger, fear, anxiety, guilt. Fear of being found-out: love, inadequacy, ignorance. Awkward subject matter: sex, death, body functions, feelings.

4 ENG330 - FALL INTRO TO SCREENWRITING - Susan Emshwiller 4 Flat out Denials or lies. Class 8 OCTOBER 10 SHOW DON T TELL Action, reaction, visual clues, Silent film techniques. Character emotion as audience surrogate. Show-don t-tell through editing. Eisenstein. THE KULESHOV EFFECT and Hitchcock. Juxtaposition of images. Contrast, Parallelism, Metaphor, Simultaneity, Leit-Motif Class 9 OCTOBER 17 SET UP AND PAYOFF Objects as revelatory, expressing change through routine and repetition, hiding the setups, foreshadowing End as payoff Foreshadowing techniques Red Herrings Mystery, withholding, misdirection, suspense, joys of not knowing. Anticipation. Class 10 OCTOBER 24 SUBPLOT Via main character or side characters Complications, overlapping, intersecting. Advance story, show hidden impulses, add back-story, provide twists, speed up or slow down the pace, augment mood More than one subplot. Robert McKee - STORY - subplot graph. Meanwhile Class 11 OCTOBER 31 THEME Abstract and hidden. Illusive. Family, home, non-violence, love, courage, autonomy, resilience, belief. Premise and theme. One word vs sentence. Sermon, treatise, message, moral vs theme. Multiple themes Writing with theme. Theme after first draft flowing from subconscious. Brecht and unstoppable theme. Brainstorming themes of films.

5 ENG330 - FALL INTRO TO SCREENWRITING - Susan Emshwiller 5 Class 12 NOVEMBER 7 SETTING Value of place, meaning, threats, comfort zone, customs. Setting as conflict. Setting as character. Time period. Values, conventions, technology. Where and when. Cliche vs novel/unique. Telephone, elevator, car, restaurant. Setting as Mood. Setting as Contrast. GENRE Human need to categorize. Genre through Character arc. Conventions of Comedy, Thriller, Horror, Romance, Sci-fi, etc. Breaking rules. Keeping in mind Genre while writing. Audience expectations. Trailers: mis-information. Cross-genres. Subverting Genres Directors and Actors as Genres. Class 13 NOVEMBER 14 REACTION Essential to tell story. Clues audience. Writer s intention. Telling us what to feel, think. Understanding inside knowledge. Lack of reaction is reaction. Out of proportion. Class 14 NOVEMBER 21 REVISIONS Active verbs. Blocking. Stream of Consciousness. Close up or far away. Third Pass.

6 ENG330 - FALL INTRO TO SCREENWRITING - Susan Emshwiller 6 RESOLUTION Ending for plot, ending for character, subplots, etc. Deus ex Machina, Ambiguous endings vs inconclusive endings. Changing the rules. Audience frustration, empathy, thrill. Resolution within theme. Tragedy, Success. Fulfillment. Class 15 NOVEMBER 28 EDITING Ideas are a dime a dozen. Murder your darlings. Butcher draft. Honing story, combining characters/locations/scenes, upping stakes. Linda Seger questions. Upping conflict. In late, out early. Ebb and Flow-- rhythms of emotion and tension. NEXT STEPS Hollywood, agents, producers, filmmakers, etc. Short films Script registration. WGA. McNichols contest. Options, development, revisions, polishing. Readings. Computer reading. EXPECTATIONS FOR THE FINAL Format, revisions, expectations, grading FINAL DUE DECEMBER 5 There is no Final Exam, however you will be expected to compile, revise, and augment the course assignments and in-class writing into a structured work-in-progress screenplay. GRADING Written assignments 30% All written assignments are required to be completed. They are to be presented on time and can only be turned in late with permission from the instructor. If you have questions at any time, about the material or what is required, or grading, please don't hesitate to contact me. Class participation 20%

7 ENG330 - FALL INTRO TO SCREENWRITING - Susan Emshwiller 7 Students are expected to share their work with the class and participate in discussions, brainstorming sessions, and critiques. In Class Writing Exercises 30% Each week will have writing that takes place during the class, exploring that current subject. Students are required to participate. Any students that are absent are expected to upload the missed in-class writing. Final: Revision of Scenes 20% The scenes created through assignments and writing exercises will be compiled with revisions into a correctly formatted work-in-progress screenplay. - Policies on Incomplete Grades If an extended deadline is not authorized by the instructor or department, an unfinished incomplete grade will automatically change to an F after either (a) the end of the next regular semester in which the student is enrolled (not including summer sessions), or (b) the end of 12 months if the student is not enrolled, whichever is shorter. Incompletes that change to F will count as an attempted course on transcripts. The burden of fulfilling an incomplete grade is the responsibility of the student. The university policy on incomplete grades is located at policies.ncsu.edu/regulation/reg Late Assignments Policy No late work will be permitted at any point in the semester without documentation of emergency or illness. If prior permission is given by the instructor, assignments and in-class writings can be made up and will be due exactly one week following the missed class. Attendance, Absence, Makeup, and Excuse Policies Attendance is crucial for understanding all of the elements of screenwriting. In class writing, critiques and discussions are a large part of each class session so it is vital that you attend. If you miss two classes over the course there will be no penalty but for each additional class you miss, you will lose one point from your attendance grade. If you have a legitimate serious excuse for missing a class and get in touch with me ahead of time, I can work with you about what you miss. Makeup Work Policy All assignments are required whether or not you miss a class. All writing exercises that would have been done in class are required of students that are absent. Academic Integrity Students are required to comply with the university policy on academic integrity found in the Code of Student Conduct found at

8 ENG330 - FALL INTRO TO SCREENWRITING - Susan Emshwiller 8 See for a detailed explanation of academic honesty. Your signature on any test or assignment indicates "I have neither given nor received unauthorized aid on this test or assignment. Electronically-Hosted Course Components and Privacy Assignments and class exercises will be shared on the screen during class. Students may be required to disclose personally identifiable information to other students in the course, via electronic tools like or web-postings, where relevant to the course. Examples include online discussions of class topics, and posting of student coursework. All students are expected to respect the privacy of each other by not sharing or using such information outside the course. Non-Discrimination Policy NC State University provides equality of opportunity in education and employment for all students and employees. Accordingly, NC State affirms its commitment to maintain a work environment for all employees and an academic environment for all students that is free from all forms of discrimination. Discrimination based on race, color, religion, creed, sex, national origin, age, disability, veteran status, or sexual orientation is a violation of state and federal law and/or NC State University policy and will not be tolerated. Harassment of any person (either in the form of quid pro quo or creation of a hostile environment) based on race, color, religion, creed, sex, national origin, age, disability, veteran status, or sexual orientation also is a violation of state and federal law and/or NC State University policy and will not be tolerated. Retaliation against any person who complains about discrimination is also prohibited. NC State's policies and regulations covering discrimination, harassment, and retaliation may be accessed at policies.ncsu.edu/policy/pol or Any person who feels that he or she has been the subject of prohibited discrimination, harassment, or retaliation should contact the Office for Equal Opportunity (OEO) at Accommodations for Disabilities Reasonable accommodations will be made for students with verifiable disabilities. In order to take advantage of available accommodations, student must register with the Disability Services Office ( For more information on NC State's policy on working with students with disabilities, please see the Academic Accommodations for Students with Disabilities Regulation at