UCLA Extension Writers Program Public Syllabus. Beginning Writing for the Half-Hour Comedy: Building the Story and Outline INSTRUCTOR: BARRY VIGON

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. Beginning Writing for the Half-Hour Comedy: Building the Story and Outline INSTRUCTOR: BARRY VIGON COURSE CONTENT An introduction to the fundamentals of the sitcom form; including an examination of the various elements and structure that are necessary components for a half-hour comedy script. By reading, watching, discussing and writing we will break down the ingredients of a successful sitcom. The class is designed to put an emphasis on character development and story. Writing exercises will be assigned weekly and will include character breakdowns, story treatments and scenes. You will be expected to conceive and pitch both characters and story ideas to the class. Goal of the class: To enhance your skills in writing for already existing sitcom characters as well as gaining the ability to create new characters. In addition, the writer will develop an outline for a spec script that meets professional standards.

2 2 WEEK 1: INTRODUCTION 1/17 What makes a good sitcom? A brief history of some of the more memorable sitcoms that television audiences have pushed into the top ten. What makes a winning sitcom? Why do some shows fail? Which current television comedies would make the best spec script? Understanding the business of television comedy: How does one break in to the world of professional sitcom writing? HOMEWORK: Consider a current show that you believe might make a good spec script. Watch it, take notes. Do a character break down. Give examples of how the story suited the character. Give examples of lines of dialogue or jokes that were organic to that character. Read Ellen Sandler Chapters 1 & 2. WEEK 2: WHAT MAKES A CHARACTER TICK? 1/24 Filling in the who, what, why, where when and how? What makes a character unique? Where is the character s center of energy? What are the character s likes and dislikes? What are his fears? What makes him most happy? Who are some of the best sitcom characters and why? Where do stories come from? But it s only twenty two minutes. Being a tough editor. HOMEWORK: Pick a current character on a sitcom, and do a complete character break down analyzing every facet of the character and how he relates to the other characters on the show. Read Ellen Sandler Chapter s 3 & 4. WEEK 3: CREATE A CHARACTER 1/31 Who makes us laugh? Is it your uncle that can t talk about anything but sex or your neighbor that s so paranoid? Or is it you, who answers the phone at six A.M. on a Sunday morning and tells your mother No Mom really, you didn t wake me. The writer draws from life experience and observation. Unlike cartoon characters, most characters in sitcoms are usually rooted in reality.

3 3 HOMEWORK: You are creating a new television series. What is the premise? Define the characters. What are their goals? What keeps them together? Write a possible story that grows out of the character relationships? Watch another episode of the show you are thinking of writing. Read Ellen Sandler Chapter 5 & 6. WEEK 4: CONSTRUCTING THE STORY 2/7 Exploring the investment of the characters. What are the stakes? The ABC S of story telling. Beginning, middle and end. Finding the A story and the B story. Breaking the story into scenes and acts. HOMEWORK: Prepare two story areas for the show Two and a Half Men. Read Ellen Sandler Chapter 7 & 8. WEEK 5: I THOUGHT THIS WAS SUPPOSED TO BE FUNNY. 2/14 Weaving the comedy into your story. Letting the character find the comedy for you. Who is the main character? What is his point of view? Who is the antagonist? Who is there for comic relief? HOMEWORK: Choose a sitcom that you plan to write. Make an audio tape or listen to your (spec script) show without watching the picture. Hear the rhythms of the dialogue and the placement of the jokes. Read Ellen Sandler Chapter 9. WEEK 6: SO WHAT S THE STORY? 2/21 Thinking about a possible story for your spec script. What areas are there to be mined in your show? What does each character want? How do they react in the situation you have put them in?. Pushing the envelope. Coming up with a story that makes your script pop out of the pile. HOMEWORK: Flesh out three story ideas for a possible spec episode that you intend to write. Read Ellen Sandler Chapter 10.

4 4 WEEK 7: PREPARING THE PITCH 2/28 The art of pitching. The writer becomes an actor and performs. Students practice pitching to partners and choose the best story to pitch to the class. Telling the log line in five minutes. HOMEWORK: : Honing the pitch. Break the story into beats, scenes and acts. Be able to pitch the story area in 5 minutes. Read Ellen Sandler Chapter 11 WEEK 8: BATTER UP.. IT S PITCH TIME 3/6 Once you have pitched to the class, together we will refine and shape the story and track the characters. Finding the flaws and holes in your story before you go to script. The Outline as a blue print. The writer s road map. What an outline looks like. It is the basic structure of your story. HOMEWORK: Rewrite your story and hone your pitch. Write an outline for your story. Read Ellen Sandler Chapter 12 WEEK 9: GROUP THERAPY 3/13 You find you are not alone as we each express our fears, anxieties, and stories and honestly question whether we have any talent at all. The group dynamic not only provides emotional support, but we work as a team as if we were in the writer s room of a show. Teamwork can often turn a so-so script into a winner. Suddenly your story has all the components needed including a beginning, middle and an end. There is not only strong conflict present in your story but in addition each of your characters has a clear action to play. You learn one of the keys to comedy If it s got a K in it We ll review outlines. HOMEWORK: Polish your outline and write a scene for your future spec script.

5 5 WEEK 10: SCENE READINGS, CONFERENCES AND WRAP PARTY. 3/28 We ll perform scenes that the class has written and I will meet each of you individually to talk about your strengths and weaknesses. We ll break bread. Final grades and pass/fail will be determined based on the following criteria: 1. Class attendance/ participation: 250 points 2. Character breakdowns: 150 points 3. Pilot story: 100 points 4. Spec stories: 200 points 5. Pitch: 150 points 6. Scene: 200 points 7. Outline: 200 points Grading Key: A= 1,100 1,200 points B= 900 points C= 600 points D= 300 points F= Below 300 points