UCLA Extension Writers Program Public Syllabus. Writing for Animation

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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. Instructor: Brooks Wachtel Writing for Animation COURSE DESCRIPTION: Whether on TV, film, or computer screens, animation is a fully creative universe without limits on sets, costumes, or special effects. All it takes is your imagination--plus it's a growing field that is friendly to new talent. This course guides you through the entire TV and Internet animation script writing process, starting with the building blocks of good writing: story structure, character development, and sharp dialogue. You then hone in on your spec script, learning how to find the voice and style of a particular show, pitch stories, create solid outlines, write the first draft, and deal with notes and changes. The course goal is to complete a polished sample script. Guest speakers include show runners, producers, and executives who discuss: how to break in; what agents do and don't do; the process of getting your script bought and produced; how to hook up with artists that can make your vision visual; and how to have a satisfying career in a field where your imagination is free. COURSE CONTENT: We will define the elements of a good animation script through script analysis, studying character, plot, theme, dialogue and structure. Through viewing and discussing animation episodes, in class writing exercises and homework assignments developing a script, each student will leave class with a completed animation script. Guest speakers from many aspects of the animation world, both TV and web-based, will broaden the scope of the curriculum. By the end of the ten weeks all student scripts will be read aloud in class and analyzed. (And for the full ten weeks we get to watch a lot of cartoons). Week One - Orientation and Introduction. General overview of class. Lecture on the elements of professional writing. We ll see how effective film writing SHOWS more than TELLS (it s a visual medium write with your eyes as well your ears). There will be a brief overview of television animation (Primetime, pre-school, comedy, action, 2D, 3D) and give an over-view of the expanding field of writing for the internet. We ll introduce the problems of writing for children (Broadcast Standards & Practices (the notorious BS&P notes that are so helpful to writers) and imitable behavior). Viewing of animation episodes (Told ya! We get to

2 watch lots of cartoons) and discussing what works, what doesn t (some will be written by the instructor so be kind). Students will write a page of their goals for this course to turn in by end of class. HOMEWORK: Watch several cartoons this week. See what appeals to each student. 11 minute soft show or 22 minute action (or action/comedy) show in preparation for writing assignment. Also: Create contact sheet for instructor. Week Two Character & Pitching Lecture on character. Characters and they way they relate create drama/comedy. View episodes focusing on character. Discuss how character works in a story. Writing exercise in class about character: write two pages with character having a goal; wanting something (in a way that illustrates a reveal of a defining aspect of that character (and this should not be all dialogue). We discuss pitching (very important to land that paycheck-creating writing assignment). What makes a good pitch (fitting it into an existing show finding a hook)? Hand out a show bible the guide to a series that explains the characters, tone of the shows, the universe the show inhabits (for the two shows students will create scripts for one soft show or one action show). We also hand out sample springboards (short one or two sentence concepts) for episodes. Springboards are the seeds which grow into a story. Watch episodes from several shows and come up with springboard pitches for them. GUEST SPEAKER: TBD (Possibly Story Editor to talk about pitching and what they look for in stories). HOMEWORK: Come up with 3-5 springboards for episodes. Week Three Plot vs. Story Lecture: The difference between plot and story. Writing assignment: Show episode and have students write a short description of the difference between plot and story read in class. Students read their springboards. Discuss & Peer review: what works/doesn t Lecture on premises (extended springboards for pitching). Hand out samples of premises. HOMEWORK: Pick (or assign) a single springboard and turn into a one paragraph premise. (Your idea hooked me let s see if there s a story in it). Week four Outlines & Structure Lecture on story structure. How to find a beginning middle and end. There are always 3 acts even in an 11 minute episode or a short web cartoon. View episodes and analyze them for structure. What happens in each act? We also touch on the all important cliff-hanger that keeps viewers coming back after the commercials. Lecture (with handouts) on outlines and beat sheets. They are the blueprint of the scripts and a very important part of the process. Discuss the limitations of running time and the importance of the page count (no matter how good it is if it s too long, it gets trimmed). Students will read premises. Peer review.

3 GUEST SPEAKER Story Editors or Producers to pitch to. HOMEWORK: Students will pick/or be assigned one premise to take to outline (2 weeks to completion). In other words you got the job, let s write a story! Week five Theme & Writing Slugs Lecture themes and curriculum (forgiveness, tolerance, there s no place like home, etc.). Vital in pre-school shows (they will often want stories that deal with specific themes). Have students write out a premise, with idea of the theme (and not state what the theme is) and ask the class if they understood the theme. Students read premise in class. Lecture: Writing slugs the connective tissue of an animation script. Slugs are the description of the action and allow the writer a degree of directing on paper. Staging is vital in animation we stage scene much more than in live-action. Read from existing produced scripts (Handouts) and watch corresponding scenes on video to illustrate how the finished film corresponds or doesn t to the script. GUEST SPEAKER Executive or show creator on the challenges of web based animation. HOMEWORK: Continue outline. (Due next week! No writer wants to miss a deadline!) Week Six: Creating Dialogue & Script Formats (& Outline due) Lecture: good film dialogue. Stress that film dialogue is sparse. Words are treated like gold, rare and valuable. Purpose of dialogue reveal character, give information, get a laugh. Getting the character voices right dialogue should not be interchangeable from character to character. (Does Homer Simpson sound like Bart)? View episodes. Discuss the dialogue. Analyze the ratio of show vs. tell. FORMAT discuss script format (with handouts). Highlight the differences between CGI scripts (done more in master scene) or 2D shows (break down into major shots). Students will read their outlines and hand them in. Peer review. Homework: start a first draft (Notes on outline will be ed and must be incorporated into the First Draft) Okay, we ve got a solid outline, now comes the magic words: Go to script! GUEST SPEAKERS: Producers/Artists. Voice-over director (per availability). Week Seven Notes & the Production Process Discuss the importance of notes (real world notes are not always helpful (?!) but must be addressed by the writer). The production process 9 months. What happens? How is my fantastic prose turned into sound and picture? Why should the writer care? GUEST SPEAKER: Story board artist (they translate the words into pictures). Samples of translating a page of script into a page of storyboard. Or Producer to explain the entire process of script to screen. We ll also cover why no writer wants to miss a deadline and the chain reaction that happens when they do. HOMEWORK: Continue the First draft due next week. Remember that note about no writer wanting to miss a deadline.

4 Week Eight The first draft. Review First Draft. Read aloud. Notes. Punch up. Polish. Trimming the scripts getting the page count right. Killing your favorite moments and how to live with it. HOMEWORK Incorporate notes (will be ed) go to second draft. Week Nine Read final drafts. Students cast scripts from class members for dramatic read (or bring in actors if available). Ask students to bring extra copies of their scripts. Continue draft review as needed. Lecture: We ll cover some real-world aspects of the writing business. Unions (WGA, The Animation Guild). What they do, why we need them. GUEST SPEAKER: WGA representative. Week Ten Wrap up. Optional: Third drafts. Class evaluation. Hand in drafts with SASE for final notes. Lecture: Animation business. Where do you go from here? How to break in? Agents. Contracts. How to pitch your ideas (and what to look out for). WGA. The Animation Guild. What kind of deal do you make for the web? GUEST SPEAKER: Agent. * * *

5 Workshop etiquette: Please remember that when we discuss one another s work in an 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 if the writer has successful reached their goals. Notice that useful feedback doesn't necessarily have to offer suggestions. It can merely observe, leaving the writer to work out solutions for herself. Your feedback can build on the responses of others. But suggestions on approaches to solve the problems, if short and specific, are useful. Grading: Final Grades and pass/fail will be determined based on the following criteria: Grading Key Story Premises & Pitches points Story Scene Outlines points First draft of Script points Second draft of Script points TOTAL POINTS points A = Points B = Points C = Points D = Points F = 599-Below Points

6 UCLA Extension Policies: Underage Students 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. Minors who enroll in a Writers Program course without first receiving permission from both the department and the instructor are subject to withdrawal. To request approval, please contact the Writers Program at 310/ Academic Honesty Policy Academic dishonesty covers behavior in cheating, plagiarism, and fabrication of information. These behaviors are not tolerated. Students are encouraged to familiarize themselves with the UCLA Extension Student Conduct Code and the official statements regarding cheating and plagiarism at: Services for Students with Disabilities In accordance with Section 504 of the Rehabilitation Act of 1973 and the Americans with Disabilities Act of 1990, UCLA Extension provides appropriate accommodations and support services to qualified applicants and students with disabilities. These include, but are not limited to, auxiliary aids/services, such as note takers, audiotaping of courses, sign language interpreters, and assistive-listening devices for hearing-impaired individuals, extended time for and proctoring of exams, and registration assistance. Accommodations and types of support services vary and are specifically designed to meet the disability-related needs of each stude3nt based on current, verifiable medical documentation. Arrangements for auxiliary aids/services are available only through UCLA Extension Disabled Student Services at (310) (voice/tty) or by at access@uclaextension.edu. Please request such arrangements with at least five working days advance notice. All assistance is handled in confidence. Accommodations must be pre-approved. Requests for retroactive accommodation will not be accepted.