1 Note to students: While this syllabus is posted to give you an overview of the course, it is subject to change. If you have any questions or concerns, please contact the Writers Program at (310) 825-9415 or via email at writers@uclaextension.edu. INSTRUCTOR: ANDY GUERDAT INTRODUCTION TO SCREENWRITING I X 430.A GOAL: To learn the basics of the craft of screenwriting, complete an outline for the screenplay you want to write, and begin the 1 st act of your screenplay. IN CLASS: Writing in Hollywood is a communal effort, so it s essential that you participate in class. Listen, read and critique the work of your fellow students. You ll learn as much from dissecting others work as from developing your own. Plus, you ll be learning how to work in a creative environment that s as much like a typical notes session as possible. And listen when your classmates critique your work. You ll never have another opportunity to have your work evaluated in such a safe environment. Only constructive criticism is allowed. Be sure you re trying to make a fellow student s work better. If you re trying to make yours look better at someone else s expense, the instructor will quickly correct your misconception. Feel free to ask dumb questions. This is the place to do it. Have fun. If you re not getting any joy from conceiving your movie, chances are no one else is going to enjoy reading it. Take your work seriously; not yourself. HOMEWORK: All assignments must be typed. All scenes must be written in a professional screenplay format. SCRIPTWARE and FINAL DRAFT software are recommended. SUGGESTED VIEWING LIST: The movies I suggest you watch may help illuminate some or all of the points covered in class. As well as how the rules are often broken. More importantly, the list may open a hitherto unknown world of great films to you. But it s not required that you watch any of them. SUGGESTED READING: As many screenplays as you can. www.script-o-rama.com; www.scriptfly.com; www.screenplay.com; and the Writers Guild library are just some sources for finding screenplays. When online, however, be wary of transcripts and other nerd-bowdlerized versions of produced movies.
2 None of the many How To books about screenwriting are necessary to read, and many are harmful to the creative process, especially for young writers. I don t recommend any of them. But a few books are thought-provoking in a tangential way. Among them: ADVENTURES IN THE SCREEN TRADE by William Goldman THE ART OF DRAMATIC WRITING by Lajos Egri POETICS by Aristotle ON DIRECTING FILM by David Mamet MAKING MOVIES by Sidney Lumet HANDOUTS: The class will receive a few handouts throughout the course. In addition, students will dissect and analyze Fourth Story, a produced screenplay written by the instructor. This screenplay is used not because it s extraordinarily good, but rather because it s an extraordinarily ordinary example of a modestly-budgeted Hollywood film. Also, the instructor s intimate knowledge of the writing, rewriting and production history allows for a detailed analysis of what worked, what didn t and most importantly why. Be sure to read it and bring it to class every week for use in possible exercises. GRADING: Attendance: 25 points Class participation: 25 points Homework assignments: 25 points Screenplay pages: 25 point A = 90-100 points B = 80-89 points C = 70-79 points D = 60-69 points F = less than 60 points WEEK 1: COME ON IN, THE SEWER S FINE! Who the heck am I and what makes me think I can teach you screenwriting? Who the heck are you and why do you want to write movies? Standard screenwriting format. What are all those terms and do you really have to use them? What a spec script is, and why it s worth $380,000 and change. Trusting your gut. The reading script vs. the shooting script. All those screenwriting gurus and why you shouldn t listen to a word they say. So what is a story anyway? Finding the Ur of your story. How does a movie story differ from all prior forms of dramatic writing? How screenwriting is like sex. What s the writer s job and what s the director s?
3 The Pyramid of Storytelling. Dreaming your story. ASSIGNMENT: Prepare to pitch your story idea in 3 minutes or less. WEEK 2: PITCHING YOUR STORY Students pitch their story ideas. Pitching techniques and why you need to know how to do it. Identifying your story spine. ASSIGNMENT: Write the spine of your story. WEEK 3: STRUCTURING YOUR STORY Students turn in their story spines. The good ol Three Act structure and why it s really no big deal. It s okay to be manipulative! The Wow! That d be so cool! method of screenwriting. How to start. Telling yourself your story. Three questions to test your story spine. Why all good stories are mysteries. The 3 most important words in storytelling. Endings made (a little) easy(er). Classroom exercises. Some instructive scenes will be viewed. ASSIGNMENT: Write your protagonist s term paper. WEEK 4: CHARACTERS Characters term papers are read aloud and critiqued. Detailing your characters. Finding the but of your characters. Testing your characters characters. Understanding the term in character and learning to ignore it. Action is character. The 7 least important words in creating characters. Classroom exercises. ASSIGNMENT: Write a reaction for each of your main characters to an event provided by the instructor.
4 WEEK 5: SCENES So what is a scene anyway? Writing subtextually. Writing with pictures. Breaking down a story into units of information. The hand over the scene test. Defining dramatic conflict. Finding the axe of your scenes. Baiting the hooks of your scenes. Critical viewing of scenes that work or don t. ASSIGNMENT: Write a sample scene the premise of which will be provided by the instructor. WEEK 6: PUTTING IT TOGETHER Students sample scenes are cold read and critiqued. What works? What doesn t? What will work on the screen? What won t? Writing for the stage vs. writing for the page. 2 forms of outlines and why you don t have to hate writing them. ASSIGNMENT: Turn in a broad-stroked, beat sheet outline for your screenplay. WEEK 7: PUTTING YOUR STORY TOGETHER The instructor and class critique students outlines. Drama vs. melodrama and why they re both cool. Following the truth. Classroom exercises and instructive scenes are viewed. ASSIGNMENT: Rewrite your broad-stroked outline. THANKSGIVING HOLIDAY - NO CLASS WEEK 8: AND TAKING IT APART Students receive notes on their broad-stroked outlines. The instructor and class critique students outlines as needed.
5 Comedy vs. drama: how far to stand from your story. Genres and how to use them. Classroom exercises and instructive scenes are viewed. ASSIGNMENT: Write your first scene (3 pages maximum). WEEK 9: OH BOY! DIALOGUE! Students first scenes are cold read and critiqued. Jokes and how to write them. Why clowns aren t funny. Writing dialogue that plays. Learning to feel sorry for actors. In-class exercises and more critical movie viewing. ASSIGNMENT: Rewrite your first scene. WEEK 10: OH BOY! IT S OVER! Students receive the instructor s notes on their first scenes. Help! I ve wasted the last 9 weeks of my life! No you haven t. Time for addressing questions and difficulties that have arisen so far. When to go backwards and when to go forward. Trusting your gut. All those questions about agents. Who not to give your script to. And when to not give it to them (or anyone). How to deal with suits. Students participate in a punch-up session on the script of Fourth Story. Guest speaker. ASSIGNMENT: Keep writing. Become rich and famous.
6 SUGGESTED VIEWING LIST In no particular order: LAWRENCE OF ARABIA NOTORIOUS CHINATOWN CRIMES AND MISDEMEANORS THE APARTMENT ALL THE PRESIDENT S MEN RIDICULE BAMBI CRASH (2005) RUN LOLA RUN CAST AWAY THE FRENCH CONNECTION A SHOT IN THE DARK THE AMERICAN PRESIDENT REAR WINDOW THE THREE MUSKETEERS (1974) LONE STAR BRIDGE ON THE RIVER KWAI CASABLANCA SHAKESPEARE IN LOVE DOUBLE INDEMNITY JAWS JERRY MAGUIRE THE OPPOSITE OF SEX SCHINDLER S LIST THE PLAYER VERTIGO BARTON FINK FARGO ABOUT A BOY NETWORK SWINGERS THE TRIPLETS OF BELLEVILLE CHARADE THE HUNT FOR RED OCTOBER SENSE AND SENSIBILITY TOOTSIE THE DEVIL S BACKBONE THE USUAL SUSPECTS FLIRTING WITH DISASTER HUSBANDS AND WIVES HOUSE OF GAMES THE CONVERSATION GROUNDHOG DAY PLAY IT AGAIN, SAM THE SEARCHERS THE LADY EVE THE TRAIN NIGHT MOVES ANNIE HALL THE GRADUATE