Writing the Half-Hour Spec Comedy Script Instructor: Manny Basanese

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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 Half-Hour Spec Comedy Script Instructor: Manny Basanese Writers Program Contact Info: (310) writers@uclaextension.edu UCLA Extension Catalogue Course Description: This workshop guides you to write a solid draft spec script from your half-hour comedy outline and to move as far ahead as you can in polishing it. You begin by reworking your outline to simplify your story, nail down the essence of your characters, focus and tighten scenes, create mood and pacing, and punch up dialogue from the blueprint you've created. You then move to the writing and polishing stage. On the business side, you deepen your knowledge of the current comedy series marketplace and map out basic career building strategies. Students must bring a complete outline to the first class. All student projects must focus on current shows; no pilots. As UCLA's principal provider of continuing education, the majority of UCLA Extension courses are designed for the post-baccalaureate professional-level student. Enrollment is therefore normally reserved for adult students 18 years of age and older. The Writers Program may consent to enroll younger students based on special academic competence and approval of the instructor. Students who enroll in a Writers Program course without first receiving permission of the instructor are subject to withdrawal. To request instructor approval, please contact the Writers Program. STUDENT PROFILE: This is an intermediate class designed for students who have completed the Beginning Writing for the Half-Hour Comedy course. All students are required to arrive at the first class with a completed outline. Spec projects are limited to current half-hour shows on the air, no original pilots, no hour-long shows. COURSE OBJECTIVE: The goal for the course is to guide the student through the process of taking their spec story from the outline stage to a solid, workable first draft.

2 COURSE CONCEPT: While students will work independently on their individual projects, we will utilize a workshop approach in the development of their scripts. We do this by fostering a Writers Room approach to the class. Writing on a TV comedy staff is a group effort. Here too students will contribute suggestions, ideas and collaborate just as professionals would in an actual television series writing room. Therefore, as in the professional world, all ideas shared or pitched in class will be free to be used by the writer of the piece under discussion. This communal comedy writing process is the very essence and cornerstone of the Writers Room. In emulating this professional, real-life collaborative environment, the intention is that the student will not only gets to experience this unique creative process but will also see their work evolve and improve from the feedback of their peers. KEY ELEMENTS (THE WORK!): OUTLINE REVIEW: Does what you have work? Is the story structure tight, sound and ready to go to script? What needs to be changed or tweaked? CHARACTERS: Story is one thing but now your characters have to speak. Learning to recognize and capture your characters unique voices and honing them. DIALOGUE: It s not just conversation. Making the words your characters say move the story, ring true and jump off the page. YOUR SCENES: How is the pacing? Do they build off each other? YOUR ACT BREAKS: Strong and compelling or do you need to up the stakes? YOUR ENDING: Surprising and satisfying or pat and predictable? THE SERIES: Did your spec capture the show? Does it feel like an episode? Is it funny? YOU AS A WRITER: Figuring out your next step. Discovering who you are as a writer and how to define/market yourself. WORKSHOPPING A NOTE ABOUT NOTES: Please remember that when we discuss one another s work in this open way, there is great opportunity to hurt the writer s feelings, even if it s completely unintentional. Try to focus on the technical aspects of the work and not on your evaluation of the psychology of the writer. In turn, when receiving notes strive to do so graciously. Focus more on listening than arguing or defending your position. Being able to take notes effectively is an integral part of a TV writer s work and often a key element to their success. GRADING:

3 20% Attendance 50% Participation 30% Assignments ATTENDANCE: I recognize that sometimes things happen and you can t make class. Therefore, I allow for two missed classes. The absentee is required to keep up on assignments and notes by reaching out to fellow students if necessary. If you miss more than two classes, your grade will go down. PARTICIPATION: Since our class is workshop-based, participation is key. I recognize that not all individuals have the same level of comfort when it comes to speaking in front of a group but it s important for everyone to make an effort. Being a TV professional means making deadlines. In the real world a missed deadline may cost you a job. In this class, if your assignments aren t in on time, your grades will suffer. While talent is obviously important, I am even more focused on effort. What I m really looking for is commitment, attitude, energy and professionalism. Ultimately, what I am most concerned about is your improvement and evolution as a writer. A NOTE ABOUT COPIES: This class doesn t require textbooks but you will at times be asked to bring in copies of short scene to be read in class. AND PLEASE...you ll be given a break so during class put away your cell phones (and I ll put mine away too!) Thanks! Let s go! WEEK ONE HELLO! Our class Cold Open. Let s get acquainted: a little about me, way more about you. What are your writing goals? What show are you spec-ing? How do you feel about your outline? Do you feel ready to go to script? YOUR OUTLINE: Give the class a brief overview of your spec story. Share what you feel good about as well as what elements still need work (structure, pace, resolution, etc.) YOUR WORK STRATEGY: Everyone is busy and keeping one s commitment to writing can be challenging. You need a plan. We ll discuss the when, where and how of your writing. (Before work? After school? Home? Starbucks? When the kids are sleeping?)

4 1) STUDY: Continue to watch and study your show. Also, start looking at the shows your classmates are working on so you can give them effective notes. 2) YOUR PITCH: Polish your outline and be ready to pitch out your new revised version to the class next week. WEEK TWO Pitch your show to the class. Work on making it clear, concise and entertaining. Focus on the funny. Your goal is to show not only how this could be a fun, wellstructured episode but why your story is right for the series. Ask yourself some questions: Is this a fresh story? Does it show off and exploit our main characters traits and foibles? Are your Act Breaks compelling and big enough? Is there a surprising twist or two? Is there a satisfying resolution? And oh yeah IS IT FUNNY? The class will function like a Writers Room sharing notes and thoughts and suggestions on what you have. NOTE: Depending on time constraints, some pitches may be held over until the following week. If you were able to pitch, prepare your revised outline. Hand in a copy of your new outline to me next week. WEEK THREE I will collect the revised outlines from those who pitched last week. We ll address any final questions or concerns students have about their revised outlines. If anyone hasn t pitched their story from last week, we ll hear those pitches. The class will give notes on those pitches as well. KNOW YOUR FORMAT: A quick review. We ll look at samples of single and multicam show scripts. Time to go to script! START WRITING If you haven t handed in your revised outline, you will need to hand it in next week.

5 YOUR FIRST SCENE: Depending on the format of your show, you will either write your Cold Open, Teaser or the first scene of your First Act. BRING IN COPIES FOR THE CLASS TO READ AND ONE TO HAND IN TO ME. Getting started can be intimidating. Remember, this is just your first draft. WRITING IS REWRITING. GIVE YOURSELF PERMISSION TO BE BAD! YOU DON T HAVE TO BE BRILLIANT, YOU JUST HAVE TO BEGIN! WEEK FOUR Revised outlines from those who pitched during Week Three will be collected. Again, we ll address any final questions or concerns students have about their revised outlines. EXPOSITION. Laying out the plot elements of an episode is necessary but can be tricky. It should be so seamless the viewer doesn t notice it. We ll discuss the delicate Art of Exposition or making information entertaining. TABLE TIME: Writers will assign parts and we ll table or read our first set of scenes. Students will offer their notes and thoughts while scene writers will gain new insight into their work by hearing a cold-read of their piece. Congratulations! You knocked out your first scene and got to hear it read out loud. What s your reward? KEEP WRITING! Keep watching and studying your show as well as the ones your classmates are doing. You should not only be a complete expert on your show but also have a solid understanding of the nuances and style of the shows everyone else is writing. WRITE ON: Go deeper into Act One. Bring in a scene from your A Story. Make copies of this scene to share and table with the class. It could be one that you love (you may not love it so much after you hear it out loud,) or one that you want some help on because it s been making your life hell. A LITTLE ADVICE Take in the notes you received from the Table Read and make crucial adjustments, if necessary but don t get bogged down in rewriting just yet (there ll be time for that later.) Right now, think of yourself as a Writing Shark and KEEP MOVING FORWARD!

6 WEEK FIVE DISCUSSION: Character. Comedy is character. Plot is character. Character is everything. We ll explore the importance of knowing your character and why a joke (even a great one,) might need to be cut if it isn t true to your character. TABLE TIME: If there wasn t time to hear everyone s scenes last week, we ll read those remaining scenes now. Then we ll move onto this week s new A story scenes. WRITE ON: Go deeper into your script. You should be closing in on the halfway mark. Bring in a scene from your B or C story. Make copies to share and table with the class. WEEK SIX OUTLINE TO SCRIPT. So far so good or so far so frustrating? Does your story still feel like it works? By now, you should really feel like you know your characters voices. Is your dialogue sharp and moving the story forward? We ll look at how your expectations for the episode are playing out and what you re learning from the process. TABLE TIME: If there s any unread A story scenes from last week, we ll read those then move on to this week s new B and C story scenes. WRITE ON: Bring in an Act Break scene. Make copies to share and table with the class. WEEK SEVEN DISCUSSION: You should be in the second half of your script. Do the twists and turns you ve set up work? Does action build or simply repeat? Now that you ve got some momentum going, is the process feeling better? TABLE TIME: If there s any unread B and C story scenes from last week, we ll read those then move on to this week s new Act Break scenes.

7 WRITE ON: You re really moving now so bring in a scene from the second half of your script. Make copies to share and table with the class. WEEK EIGHT DISCUSSION: ART OF PUNCH-UP. You should almost be done with your first draft. We ll talk about how to take it to the next level and explore various ways to amp the humor: sharpening dialogue, adding physical business or comedy, improving blows and buttons. Let s maximize the laughs. TABLE TIME: If there s any unread Act Break scenes from Week Seven, we ll read them then move on to fresh scenes from the second half of our scripts. FIRST DRAFTS ARE DUE NEXT WEEK! TURN IN A COPY TO ME FOR MY NOTES. Bring in the final scene of your script. Make copies to share and table with the class. WEEK NINE DISCUSSION: Congratulations! You ve finished your first draft! Sometimes we begin a script and don t exactly know why we re writing it or what we re trying to say. What is this story really all about for you? Do you have any new insights into what your script really means to you under the laughs and why it resonated with you? TABLE TIME: We ll read any remaining second half scenes from last week then move on to our final scenes. Rewrite and punch up your script. WEEK TEN Final Thoughts Career Strategies. Forming Writers Groups and networking with your fellow students for more extensive notes and future feedback. Keep Writing!