WRITING THE FIRST SCREENPLAY I SYLLABUS

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1 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 FIRST SCREENPLAY I SYLLABUS UCLA Extensions, Thursdays, 7-10 pm Instructor: Jeremy Haft Course Objective: Translating an idea into a screenplay can be a scary task. Together, casting our fears aside, we will work and learn how to successfully complete this process. To do so, we will create a step-by-step outline for a feature-film script. And as we construct our screenplay outline, we ll explore and learn the basic elements and techniques of screenwriting including premise, character, structure, dialog, visuals, etc. Suggested Reading: Among the many books available on this subject, the ones I found to be most useful are: SCREENPLAY by Syd Field THE SCREENWRITER S WORKBOOK by Syd Field ADVENTURE IN THE SCREENTRADE by William Goldman MAKING A GOOD SCRIPT GREAT by Linda Seger (terrific after you ve written a draft or two) IMPORTANT TIP SCREENPLAYS Read as many as you can get your hands on. This is probably one of the best ways to learn to write and evaluate other peoples writing!

2 You can find screenplays online at: As we will be reading and breaking down E.T. in terms of structure, this would be a good screenplay and movie to familiarize yourself with. Also plan on watching the movie, E.T. as well. Other screenplays that are sighted for structure and are found in many screenwriting books are CHINATOWN, THE SHINING, and ORDINARY PEOPLE.

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4 WEEK ONE Premise, Story, Concept, Salability of the Idea Introduction/Course overview: What are the class goals? What are your goals? What are you hoping to achieve? Overview of the syllabus. Grading. What is a screenplay? What is your experience with screenplays? When/how to write? Where ideas come from? Inspiration from within, latest news, books, an image, a song, a crazy thought, historical events, the low brow and the high-concept ideas. How to choose what idea to write about? What you want to write vs. the potential salability of an idea. Genres and story types plot driven, character driven, high-concept, star-driven, buddy movies, ensemble movies, independent vs. studio. True stories, drama, comedy, thriller, mystery. Combining genres. Premise, Story and Concept: Creating a log-line, high concept one-liner Style and tone Conflict why you need it. Three-act structure a very brief overview (more in depth later) How to start a story. What is the inciting incident? What are the characters major arcs? In Class: Write a log line (one to two lines) of your favorite movies. What are the themes of these movies. What s the conflict in these movies? Bring in 3 story/script ideas of your own. Something you want to write. Each one should be in a log-line form.

5 WEEK 2 - CHARACTER. WHAT MAKES A GOOD THREE DIMENSIONAL CHARACTER? Follow up from previous week: Sharing log-line ideas and discussion. Creating 3-Dimensional Characters. -What make a character 3-dimensional? -What s a hero? Villain? Protagonist? Antagonist? Supporting character? Character arcs? -Whose story is it? From whose POV (Point of View) is the story being told. -What is the goal of the main character(s)? What is her/her obstacle to achieving this goal? -Creating characters. Creating backstory. -Making sure the character has conflict and obstacles. In class: Using the homework from the previous week, do the log lines have conflict (previously discussed at opening of class)? But now that we ve discussed character, do your log-line/ideas have a good central character? Adjust and tweak to ensure conflict and good characters in log line/ideas. Finishing rewriting the log line of the movie. Develop new one s if necessary. Create and write the backstory of your main character. Also write shorter backstories of the other major characters. Homework part 2: Watch a movie (T.B.D.) so we can discuss it in class in terms of character and structure. Most likely E.T.

6 WEEK 3 OVERVIEW OF STRUCTURE Follow up from previous week: Everyone share their adjusted log-line ideas. Discuss the characters and backstory. Overview of the 3 Act Structure as a Whole -Discuss structure using the movie we watched as a guideline -Inciting Incident, End of Act One, Act 2 starts, Mid Act Break, Point of No Return, Act 3 -Turning points, plot points, reversals -A story, B story, C story -Plot and storytelling Devices: ticking clocks, flashbacks, foreshadowing, setups and payoffs, suspense vs. surprise (bomb under the table) In Class: Choose someone s premise and the class will create a three-act feature film outline. Possibly break the class into 2 groups. Write a one-paragraph synopsis for all 3 acts of your future screenplay. Bring in copies for the class to discuss. Homework part 2: See a current movie, or a rental so we can discuss its structure the next week as well. Might continue to use the original movie (E.T.)

7 WEEK 4 BREAKING DOWN STUCTURE ACT ONE Follow up from previous week: Sharing synopses and discussion of how the film we watched fits into what we have learned about structure. Getting deeper into structure, deconstructing in depth, the first act. -Discuss the movie we all saw, discuss it s structure overall, and use as context for a more in-depth examination of Act One -The importance of the first scene of the movie -The hook of the movie. Why are the first ten pages so crucial? -Inciting incident -What is the central character s goal? -End of Act One decision leads to Act Two -Setting the tone of the movie. Why a consistent tone is so important. -Show don t tell! Exposition is bad! Film is a visual medium! -Remember: The first act ends when the character makes a commitment to his goal! (twenty to thirty minutes) Turn your one-paragraph synopsis of Act One into one or two pages. Using this synopsis, create an outline/beat-sheet of Act I. An outline/beat-sheet is just a step by step description of each scene in the movie. Be able to answer: Who is my central character and what does he want? Homework 2: Possibly see another movie to discuss or continue discussion of previous movie for the following week.

8 WEEK 5 BREAKING DOWN STRUCTURE ACT TWO Follow up from previous week: Sharing the expanded first act synopses. Delving deeper into structure, deconstructing in depth, the second act. -Discuss the movie we saw in terms of Act One and Act Two -Make sure that all the major story elements that will provide conflict and suspense in Act 2 have been planted in Act 1. -A series of obstacles must be overcome by your hero -The stakes must rise -Is your main character driving the action? He must be active not passive; and active, not reactive! -Is your main character changing? Is his character arc working? -The mid point -The point of no return the point in the script where things look bleakest for your hero. Where the hero is furthest from his goal. -Remember: The second act ends when the final conflict or moment of truth relating to the goal is about to take place. (fifty to sixty minutes) Expand the Act 2 synopsis into two or three pages. Create your outline/beat-sheet for Act 2. Be able to answer: What does my hero do to bring about his goal? What is opposing him/her? What are the key obstacles (three to four) that must be overcome along the way? What is the moment of truth/point of no return for my character?

9 WEEK 6 BREAKING DOWN STRUCUTRE ACT THREE Follow up from previous week: Sharing the expanded Act 2 synopses. Getting deeper into structure, deconstructing in depth, the third act. -The third act race to the finish! -All is lost -Final set pieces/climax -Final twist -Definitive ending? Ambiguous ending? -Will the main character reach his goal? -Play out the final conflict that is set up in Act 2! -Remember: The third act ends when the movie is over. (Twenty to thirty minutes) Expand the Act 3 synopsis into one or two pages. Create your outline/beat-sheet for Act 3. Be able to answer: What are the events that finally bring my character to reaching his/her goal? Or failing his/her goal?

10 WEEK 7 BREAKING DOWN STRUCUTRE REVIEW Follow up from previous week: Everyone share their expanded Act 3 synopses. Review the all important three act structure! Can everyone answer all the questions posed in Act One, Two and Three. Are you hitting all the beats in each act? Now that you have all three acts in your synopsis, does it work? Homework : Get your outline in shape. Make changes per today s structure review. Eavesdrop on a conversation and translate it (literally) into dialogue between the characters. WEEK 8 WRITING DIALOGUE

11 Follow up from previous week: Have several people read their eavesdropped conversation aloud and discuss the noted real dialogue versus fake dialogue. Discuss any lingering structure questions. Writing Dialogue -Watch some examples of good dialogue in class and discuss what makes them good. -Real vs. fake dialogue -Voice over? Using it effectively versus using it as a crutch. -Subtle vs. on the nose -No exposition -Show don t tell Rewrite the eavesdropped dialogue, so that it has tension and drama. Write some dialogue between some of the characters in your screenplay. WEEK 9 - REWRITING Follow up from previous week: Read aloud re-written eavesdropped dialogue. Read aloud some of the dialogue from your characters.

12 Writing is Rewriting -First drafts are only a starting point -Rewrite! Shuffle scenes. Delete scenes -Scenes must movie the story forward -What s the purpose of each and every scene -If a scene doesn t move the story forward delete it! -Description. Too much? Too little? -Action sequences -Camera directions are a major no no! Possible Guest Lecture Adjust your synopsis/beat-sheet. Optional: Write the first scene or two of your movie. WEEK 10 BUSINESS LECTURE Follow up from previous week: Review final outlines. A brief overview of how the entertainment business works, in particular for the writer -How to make a living -How to get writing to the right people (agents and producers)

13 -The spec market (TV and features) -Managers, Agents, Producers. Who does what. -How do the studios operate? -How to deal with studio notes? -WGAw Register your script and/or treatments. Possible Guest Lecture GRADING Participation Attendance Homework Outline 25 points 25 points 25 points 25 points

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