UCLA Extension Writers Program Public Syllabus

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1 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. 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. WRITING SITCOM DIALOGUE FOR FUNNIER CHARACTERS Instructor: Steve Paymer UCLA Extension Catalog Description: In a supportive setting, this course helps you tap into the voices of your half-hour comedy characters, be they characters in your spec script for an existing show or an original pilot. You learn how comedic dialogue can enhance your characters' conflict, attitude, and drive, and how to invest it with the three key components of surprise, specificity, and visual imagery. While no performing is required, you do gain insight into the role of improvisation in half-hour comedy writing, as well as its usefulness when pitching and working on staff. Joke writing, script editing, and the perils of overwriting are also covered. Simulating the sitcom writing room (minus the screaming), you get scene assignments, do on-the-spot rewrites, and engage in pitch sessions. The course goal is to empower you to strengthen your sitcom characters through dialogue in an effective, succinct, yet funny way so that you are better prepared to compete in the current marketplace. You leave the course with a few select original comedy scenes or a rewrite of those scenes for an in-progress spec or pilot script. Prerequisite: X Beginning Writing for the Half-Hour Spec Comedy: Building the Story and Outline and X Writing the Half-Hour Spec Comedy Script, or equivalent, or consent of instructor. Course may be taken as a certificate program elective. Enrollment limited to 16 students. Internet access required to retrieve course materials. GRADING CRITERIA: 50% Class participation 30% Attendance 20% Assignments SYLLABUS

2 2 Workshop guidelines and decorum: Please limit suggestions to the creative aspects of our work together and avoid personal criticism of any kind. No textbooks required, but reading recommendations will be provided to you throughout the semester. Please note that this syllabus is subject to change, depending on the needs of the class. Instructor Contact Information: Writers Program Contact Information: (310) WEEK 1 Introduction and course overview. My background as a sitcom writer/producer and performer. What are your hopes and expectations for the class? Currently beginning or working on a spec sitcom or pilot script? Class description: Primary focus on comedic dialogue arising from character. Finding your character s voice. Enhancing conflict, attitude and drive. Improvisation. Joke writing, pitching, rewriting and editing. Students beginning or currently writing a spec or pilot script are encouraged to bring their work to class. By course s end, you will each write and revise three original sitcom scenes. Pitching around the table as part of workshop process. Class pitches fixes for dialogue, jokes, characters, etc. (doesn t matter if funny or not, just participate). Mini-lecture: Shaping dialogue for maximum comic punch. Sitcom spec scripts vs. pilots. Discovering your comedic voice. Informal Q-and-A periods are beneficial to both student and instructor and will be held during each class. ASSIGNMENT for next week: Write the first 2-3 pages of a sitcom scene using characters from a new or in-progress spec or pilot script. WEEK 2 CHARACTER BASICS: Character largely defined by emotional response to conflict. Write exaggerated versions of friends, family, etc. Comedy as pain (to character, not audience). Conflict, attitude and drive: Protagonist must overcome obstacles to reach goal. Character emotions activated by outside force.

3 3 Character informs attitude and dialogue (e.g. Larry David versus the world on Curb Your Enthusiasm). Drive may outgrow character s initial motive and take on life of its own. We begin reading and discussing your scene work, encouraging class feedback and participation. ASSIGNMENT for next week: Continue writing and bring in your first completed 5-7 page sitcom scene. WEEK 3 STORY AND CHARACTER: beginning, middle, and end. from within character. Sitcom episode as self-contained story, with Simple incident acts as story catalyst. Resolve story Sitcom stories more about character than situation. Main characters view their central conflict as dramatic and have inappropriate comedic response. Subplots (A & B stories): Helps misdirect viewer and should match overall comedy style and tone. Teaser: Brief opening scene. Should end on joke or cliffhanger moment. Cold open: Jumps right into action and states conflict. Tag: Short closing scene, calling back earlier joke from script. We read aloud and discuss your first completed sitcom scene. ASSIGNMENT for next week: Bring in at least 3 new or revised scene pages. WEEK4 CHARACTER VOICE: Give comedic character fresh edge, attitude, and manner of speech. Importance of listening to everyday conversation. Trust own writer s voice and express through characters. Keep character POV active, familiar, and funny. Specificity. Avoid generalizations when building character. Show, don t tell. Specific details help pay off surprise element. Free-associating as effective technique, especially for writer s block. Continue class reading and discussion of your scene work. ASSIGNMENT for next week: Bring in the first 2-3 pages of your second sitcom scene.

4 4 WEEK 5 CRAFTING DIALOGUE: Comedic character revealed through words and reactions. Dialogue must move plot forward. Music of comedic dialogue. Select precise wording and nuance. should reveal character, advance plot, and lead to joke. Dialogue Call and response between sitcom characters. Dialogue should deliver maximum information in fewest words possible. Start character dialogue as late in scene as possible. Keep your original script premise in mind. More reading and discussion of students scene work. ASSIGNMENT for next week: Continue writing and bring in your second completed 5-7 page sitcom scene. WEEK 6 JOKE WRITING: Types include individual, character, and story jokes. Basic elements involve pace, wording, tone and surprise. Key components of joke construction are subject, character POV, and final twist. Set-up and punch line structure.. Best jokes come from character with unique POV. Joke twists may rely on juxtaposition, misdirection, or play on words (e.g. things in threes ). Twists help strengthen element of surprise. Character exaggeration. Callbacks and runners. Select words carefully (some sound funnier than others). Pay off jokes with funny trigger (word or imagery). Physical humor enhances comedic imagery and insight into character. We read aloud and discuss your second completed comedy scene. ASSIGNMENT for next week: Bring in at least 2-3 pages from your third comedy scene. WEEK 7 MORE FUNNY STUFF: Use of dialogue to convey visual imagery (Jonathan Winters: It s all pictures. ). Keep an eye on the familiar. Viewers laugh at what they know or have experienced.

5 5 When not to use dialogue. The comedy of silence. Comedy scene beat determined by response of character. Role of improvisation. How it helps staff writer come up with jokes and dialogue fixes in writing room and on tape night. We continue to read and discuss your scene work. ASSIGNMENT for next class: Continue writing and bring in a third completed 5-7 page sitcom scene. WEEK 8 REWRITING: Write rough first draft quickly, revise later. Letting go of original draft. Eliminate redundancy, character inconsistencies. Advantages of having script read aloud to you. Script editing. Elaborate, cut, and clarify. Brevity. Use simple declarative sentences. Avoid over-editing. Rewriting on sitcom staff. Difficulties encountered when answering conflicting notes from show-runner, studio, network, etc. We read aloud and discuss your third completed comedy scene. ASSIGNMENT for next week: Review your three sitcom scenes and be ready to discuss any lingering problem areas with class as you prepare to rewrite Bring in at least 3 revised pages from any one of your scenes. WEEK 9 PITCHING ON STAFF: Log-line pitch is 3-4 sentence plot rundown, including characters, action, and comedic tone. How to pitch to sitcom show-runner and staff. Keep story pitches under five minutes. Pitching on staff around writers table. Dealing with power trips, competiveness, getting heard over the screaming. Tape night brings on-stage havoc. Writers often asked to pitch last minute dialogue runs, jokes, scene blows. More reading and discussion of your scene work. Class troubleshooting session, addressing any final script or scene concerns. FINAL ASSIGNMENT due next week: Revise and rewrite each of your three 5-7 page sitcom scenes, incorporating suggestions and criticisms received during class.

6 6 WEEK 10 RULES ARE MADE TO BE BROKEN (if network doesn t object) Main character does not have to be lovable. Anger can be funny if character has redeeming personality trait. Be open to story changes, allow characters to lead you elsewhere. Don t overexplain. Push yourself, write instinctively, and take chances. The Marketplace: For spec scripts, watch episodes repeatedly to master show rhythms and voices. Adjust comedic style to specific program. Getting someone on staff to read it. Realities of developing and writing a pilot in today s marketplace. Advantages of working as a Writers Assistant. Getting an agent. How a strong spec script can help. Making a difference (e.g. Will and Grace). Comedy is everywhere. Avoid clichés, keep it real and (oh, yeah) funny.