Writing the One-Hour Drama: the First Draft

Transcription

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. Writing the One-Hour Drama: the First Draft Syllabus X Film and Television: 3 units Instructor: Greg Elliot To contact the instructor: See instructions for using Blackboard Course requirements: Completion of Beginning Television Writing course. An Overview This course assumes you have a well-worked-out outline, in industry-standard format, of the story you want to write, or that you have a draft of your spec which is in need of major revisions. Classes consist of lecture and exercises, both of which are designed to help you write your spec. We begin by reviewing your outline, to ensure that you are ready to go to draft. Early in the course we also review the mechanics of TV writing. As a class, and also in smaller groups, we discuss your story, your plot choices, your characters, your dialogue, and we do this in a way similar to a working writers room. (On a show, this is called breaking the story.) As the course progresses and you write your draft, we continue to examine your plot choices, dialogue, and character beats, in addition to discussing story and character arcs. Selected scenes from your script are read out loud and discussed, and your action beats are examined as well. We also discuss the current TV season, what shows get cancelled and why, and we may hear from a few professionals in various writing-related fields. But the bulk of our time is spent working to improve your draft as you write it. The goal of this course: to leave with a completed first draft of your spec. If You Are Taking This Class for Credit or a Grade: Grading criteria: Attendance: 10% Class participation: 20% Completion of assignments: 35% Turning assignments in on time: 5% Do this much and you get a passing grade. If you want an A or a B:

2 Writing the One-Hour Drama Syllabus 2 Reworking of assignments per notes from instructor (or your classmates): 30% Writing is rewriting. Writing is rewriting. Writing is rewriting. Whether you're taking this course for a grade or not, you will learn the most from your second or third attempt at the assignments. As your dialogue improves, as your characterizations improve, as your plotting improves, so will your spec, and so will your grade. Week One Thursday, January 11 th Welcome. If you let it, this class can be the place where you bring in your outline, tell us what you're having trouble with, and kick it around before you go to script. But this is also the place to present your work and have us point out to you what might not be working. The advantage to ironing out these story kinks before you go to draft is huge. This process is good for everyone in the room, because it s often true that you learn more by watching someone else fall on his or her face. If you worry that this sharing process might make you defensive, please don t. You will see that everyone goes through the same drill. It s how your work gets better. The Basics Viewing television like a writer, not just a fan. "Oh please," vs. "Oh, wow" moments. How, and when, to do research. Keeping your story fresh. Three basic rules of spec writing: Put things back where you found them. Keep the series regulars true to their characters. Keep your story about the series leads, not about your guest stars. Stay ahead of the series you're writing, or stay away from the stories they're writing. Reviewing Your Story: the outlining process. We review the series for which you have chosen to write, and we look at your story specifically. Your outline should be your road map through each scene you intend for your script, in order, with slug lines, characters, important action and important dialogue. In other words, all the prompts you will need in order to sit down and write your script. We will talk often about the Big Four, which must be in every scene: where are we; who is here; what are they saying; what are they doing. All four questions must be answered for every scene in your outline.

3 Writing the One-Hour Drama Syllabus 3 If your outline is not in the industry standard of the example, you have until week three to get it in that format. IF YOU DON'T HAVE AN OUTLINE, please see me. Questions to ask yourself as you review your outline: How long is your outline? Twelve to Fifteen pages? Longer? Shorter? How many scenes do you have? What shape is your work in now? Do you have an A story, a B story (a C story)? How are your A, B, (and C) stories paced throughout your outline? Where do they begin/end, and where do you choose to cut from one to the other? Are you true to your main characters, or do they have to step outside themselves in your story? Does your story hold together? Are there holes? Dead spots? Moments that don't work? Get these fixed now, before you write scenes that you already know don't work for you. Workshop. We, as a group, act as one big writing staff on a story. Smaller workshops. We break into smaller groups to continue the workshop process. Assignment for week two: Review and strengthen your outline. Have it ready to turn in by next week.

4 Writing the One-Hour Drama Syllabus 4 Week Two Thursday, January 18 th Housekeeping for Outlines: Making a bible for your characters: How did they get here? What motivates them in your story to act the way they do? What relationships or events from their past influence how they behave now? Little of this information may make it into your script, but know it anyway. Reworking your outline, the A-to-C progression (no, not your A, B and C stories): tips for adding new scenes, restructuring scenes, and dropping scenes. Your Teaser and Act Outs: how do you keep us involved till the end? Where does your story start? Is this the best place? What is the goal of your teaser? Is it accomplished? Where do you choose to break for your acts? Why? Are these the most dramatic choices? Does your story drive from one end to the other? Is every scene necessary? Really? Discuss how to write efficiently. Review rules like Come in Late/Leave Early, and Ozzie and Harriet. In-class workshop: polishing your outline. Assignment for week three: Polish your outline until it shines. Bring it back to class next week.

5 Writing the One-Hour Drama Syllabus 5 Week Three Thursday, January 25 th Minding your Ps and Qs: the grammar of scriptwriting. Scripting software options vs. writing scripts the old-fashioned way. A quick review of the rules of writing for TV. The formatting hand-out, and what the margins mean. The rules of parentheticals. What goes (and what doesn t go) into action lines. When to use a slug line(scene heading) vs. when to use a shot. Should you use transitions? Using INSERT, INTERCUT TO:, POV, BACK TO SCENE, END INTERCUT, etc. A few words about script length and scene count. Assignment for next week, week four: Write your Teaser and opening act.

6 Writing the One-Hour Drama Syllabus 6 Week Four Thursday, February 1 st A quick note about story fatigue. Your Script: Strengthening your Characters Are you true to the characters as they exist in your series? How do you know? What makes truly memorable characters? When can your characters be flawed, and how do those flaws improve your story? What is the rule of putting people (characters) and things back where you found them? Can you ever break that rule? What works in real life vs. what makes believable characters. Workshop: sharpening your script opening, with an eye to your characters. Assignment for week five: Begin your second act. Write at least four scenes. Bring your script to class.

7 Writing the One-Hour Drama Syllabus 7 Week Five Thursday, February 8 th TVs conundrum: the three-act drama structure in four (or five, or now six) acts. The basics of the three-act drama and why they work for one-hour TV. Joseph Campbell's mythical journey every hero takes and why that works for one-hour dramas. Arcs What is the arc for your plot? What is the arc for your main character? What journey does he/she take? What about your guest stars? Your villains? Your supporting cast? Find the arc for each. In-class workshop: a look at the journey your script takes. Assignment: Finish your second act. (If you are writing five or six acts, finish the first half of Act Three.) Bring your script to class.