Jon Bernstein Introduction to Screenwriting I, Winter Quarter 10 11-20-09 1 SYLLABUS 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. COURSE NAME: INTRODUCTION TO SCREENWRITING I Reg. # V4256 Winter Quarter Thursdays, January 7 March 25 INSTRUCTOR Jon Bernstein COURSE DESCRIPTION: This expanded version of Introduction to Screenwriting I guides students to develop their feature film script idea to create a detailed step outline or beat sheet, and then write the first act (30-40 pages). The basics of screenwriting are covered, including plot and subplot, beat outlines, story structure, and character arcs. Students also analyze successful scripts and study the structure of successful films. This course is equivalent to X 430A Introduction to Screenwriting I. Enrollment limited to 20 students. No refund after January 14. Internet access required to retrieve course materials. Many screenplays are skillfully written, but lack inspiration. Scripts require innovative thinking, but inspired thought can be fleeting. I lead students in various exercises in order to take an inspired approach to writing your screenplay. Once you decide on your Big Idea, we explore the full spectrum of your idea and work together to determine how the idea can be fully realized and sustained in three acts. Then we create a blueprint of your screenplay, which contains the main story beats, act breaks and character arcs. Once the blueprint is complete, students begin work on their screenplay. In this innovative and interactive workshop, you will imprint your own originality onto your screenplay. COURSE OBJECTIVE: Students are required to complete the first 30-40 pages of screenplay (Act One) by end of quarter, with a rough outline of Acts Two and Three.
Jon Bernstein Introduction to Screenwriting I, Winter Quarter 10 11-20-09 2 WORKSHOP GUIDELINES There is an element of journey and self-discovery in this workshop, and I require all students to offer full support to other students throughout entire course. It is vital that an environment of safety and trust be established so that students will look forward to coming to class in order to create freely without any sense of self-consciousness or embarrassment. I believe there is a constructive approach to hearing and offering feedback. For instance, a response like I didn t like it is unconstructive. A response like I m not a big fan of science fantasy, but I did like that one character is far more constructive. I found my thoughts drifting, is a bit more constructive than I thought it was boring. There is a way to be honest in your approach to feedback and also thoughtful to your classmate s feelings. A general rule of focusing on the positive creates an uplifted feeling in the classroom. If you don t like one of your classmates, don t say anything. You will not be required to offer input unless you would like. Students must be willing to participate in classroom writing exercises, and also writing assignments outside of class. The focus in this class is on the creative, with the belief that insight and discovery can be found through the creative process. Occasionally we will do writing exercises that may be private, and the student is not obligated to read aloud if he/she would prefer not to. I believe that when students are not required to read aloud, they are more inclined to take creative risks. For instance, if I lead an exercise about writing about your most humiliating experience, you are entitled to your privacy and will not be required to read aloud. In this class we will learn how to frame our screenplay in order to rein ourselves in. For example, if a student says, I see my movie as a mix between JUNO and SOMETHING WILD he/she is establishing a specific style and tone. I believe it is useful for students to watch other movies that are in the genre of their screenplay for inspiration. Sometimes throughout the creative process it is too easy to become wayward and digressive, but when we have very clear parameters set, we are less likely to digress. However, many wayward digressions lead to clarity and deeper insight, and a bold new direction for the screenplay. In this class we will explore how getting lost and losing ourselves often leads to innovative new directions. GRADING CRITERIA: Grades, when desired, will be based on the following:
Jon Bernstein Introduction to Screenwriting I, Winter Quarter 10 11-20-09 3 1) attitude 2) attendance 3) participation in class 4) completion of written assignments 5) success in accomplishing course goals 6) listening to others 7) general classroom civility 8) offering constructive input to other students 9) willingness to accept input and try different approaches 10) improvement WEEK 1 INTRO TO COURSE Screenwriting is a collaborative medium. In addition to being a storyteller, the screenwriter must be a good listener and observer, with a strong point of view. Keep a Notebook Handy. You never know when inspiration will strike. Instead of starting at the beginning, think about the story as a whole, and jot down ideas in a nonlinear fashion. The Art of Giving Notes: Resist leading with a negative. I m a big believer in starting with a positive. Then instead of going to the negative, why not go for the thing that didn t quite work for me. The Art of Handling Notes: Listen to all notes carefully, think about ways to implement notes, then determine which you want and which you don t. Just because you get a note doesn t mean you have to use it. Patience is a Virtue: The Endless Rewrite. Resist the impulse to put a strict time frame on the process of writing a screenplay. Think about it all the time, and allow it to take shape in your imagination. Determining What s Broken and Figuring Out How to Fix it. Resist the impulse to cling tightly to what you think the story is. Allow your ideas to expand. The Importance of Inspiration. Try something fresh. Try something you ve never seen in another film. Take chances. Surprise yourself. Have fun. Enjoy the journey of discovery. The Importance of Having a Big Idea that Can Sustain Three Acts (and your own attention span). Explore ideas and themes that you are passionate about! The Writer s Tools: outlines, treatments, pitches and screenplays.
Jon Bernstein Introduction to Screenwriting I, Winter Quarter 10 11-20-09 4 The Format of Screenwriting. Using screenwriting software or not. Having Three Strong Acts -- with pivotal act breaks. The Business: Protecting your work, submitting it, networking, obtaining representation, the Writer s Guild, contests, short films, festivals, buyers, deals, the art of the pitch, websites, getting your work out there. Assignment: What s your Big Idea? Next week plan on pitching it in 30 60 seconds. WEEK 2 PITCHING THE BIG IDEA DISCUSSION: Who knows exactly what they are going to write? Who has a few different ideas? Who has no idea? Who changed their mind after last week s class? CLASSROOM EXERCISE: Students pitch their big ideas. I lead the students in feedback. We explore the full potential of their big idea, and the loose three-act structure. We address three key questions: Who is the hero? and What does the hero want? and What stands in the way of the hero getting what he wants? We also address the questions: Is it character-driven or story-driven? ASSIGNMENT: Clarify and crystallize your big idea. By adding an additional paragraph or two, try giving it a loose three-act structure, and answer the three key questions. WEEK 3 FUNDAMENTALS OF STRUCTURE DISCUSSION: I pass out copies of FUNDAMENTALS OF STRUCTURE, and encourage students to use it as if it were a blueprint for the construction of their rewrite. Following the fundamentals of structure is not mandatory, but may be very helpful if you ever get lost in your story (which you most likely will). Student thinks about story and characters in this world, always keeping in mind of where it fits into the structure. CLASS DISCUSSION: We talk about the importance of forcing your characters into increasingly difficult dilemmas, requiring ingenuity and actions, and gradually revealing their true natures. What is the act one break? What is the mid-point? What is the central conflict? What is the climax? What is the theme (the essence of what your story is about). Of course, we may not know exactly, but it s important to get it down. It will change many times over the next few weeks. Allow it to evolve. I play a few DVD s with strong inciting incidents, propelling the story forward. STUDENTS DISCUSS THEIR SCRIPT S INCITING INCIDENTS.
Jon Bernstein Introduction to Screenwriting I, Winter Quarter 10 11-20-09 5 CLASS EXERCISE: We focus on three main elements of the screenplay: THE INCITING INCIDENT An action or situation that causes the main conflict for the hero. Hero must resolve this conflict by taking action. PLOT POINTS the key events that change or complicate the action, and keep the story moving forward. SUBPLOTS the story involving secondary characters that affects the hero, and sheds new light on the main story. ASSIGNMENT: I ask students to think about the five main elements of their script: the world, story, characters, theme and tone. Write a paragraph or two description of each. WEEK 4 GETTING TO KNOW THE CHARACTERS DISCUSSION: Students discuss the world, story, characters, theme and tone of their screenplay. Story is beginning to take shape. We begin asking ourselves key questions: Who are the characters? Do I like them? What are their desires? Where is the conflict? What is the problem for the hero? Is the problem compelling? What does your hero want? How will your hero be enlightened and changed at the end of the story? I play DVD s of a few films featuring memorable, distinctive characters. What makes them memorable and distinctive? CLASS EXERCISE: A few quick-fire exercises: Five words to describe the kind of script they want to write. What subject are they passionate about? What do they do particularly well? What world are they interested in exploring? What is their main intention with the story they are telling? In terms of tone, what movie is most similar to theirs? ASSIGNMENT: Students will write their main characters, give them names, sample dialogue and character arcs. Students may write in first person if they choose. WEEK 5 PLOTTING THROUGH YOUR HERO S JOURNEY DISCUSSION: Students read their work aloud. Students introduce their characters. In group discussion, I lead classroom discussion about these characters. Objective is for students to create dimensional, fully realized characters. Clarify MOTIVATION for main characters in order for story and character to expand. If you don't have an increasing motive, the main character cannot change. CLASS EXERCISE: I pass out excerpt of Joseph Campbell s Hero s Journey, and we discuss the transformation from mythology to screenplay. The hero must constantly be faced with opposition, and we discuss how conflict fuels story.
Jon Bernstein Introduction to Screenwriting I, Winter Quarter 10 11-20-09 6 ASSIGNMENT: Create an Act 1 outline. We discuss the shape and structure of the act. What are the main beats? Meeting the hero and other characters, learning the main problem, something happening in the first ten pages that shakes up our hero s world, introducing antagonist and establishing main conflict. And finally, what is the plot point at the end of Act 1 that pivots the story in a new direction? WEEK 6 BUILDING TO A STRONG ACT ONE BREAK DISCUSSION: How to maximize your big idea as effectively as possible, and how to build to a strong act one break that pivots the story in an entirely new direction. CLASS EXERCISE: Students bring in their Act-Ones-in-progress. Who had an easy time? Who had a difficult time? Who would like to read theirs aloud? Students read their pages, may bring copies if there is dialogue. ASSIGNMENT: Watch a movie that has an element of your script (genre, story, character, theme or tone) that you like and admire. In what ways is your screenplay similar, and in what ways is it different? WRITE A SCENE WITH DIALOGUE, AND BRING IN EXTRA COPIES TO READ ALOUD NEXT WEEK IN CLASS. WEEK 7 FOCUS ON DIALOGUE DISCUSSION: Is your dialogue short and snappy, or long and windy? Is your scene the right length? What is the main intention of the scene? What are examples of good and bad dialogue? Is your dialogue nuanced with subtext or overt and on-the-nose? Learning the art of the edit. Be friends with your red ink pen! I PLAY A FEW DVDs WITH DISTINCTIVE DIALOGUE. CLASS EXERCISE: Students read scenes aloud. I offer input and questions. Does dialogue seem representative of genre? Does the plot hook me in? Are these characters I care about? Students consult the Fundamentals of Structure to map out Act One. Students will determine how main characters are introduced, describe their relationships and functions, and create specific traits that make them seem fresh and original. ASSIGNMENT: Watch a movie with a) great characters, b) great plot or c) both. As you watch, think, What makes it a great plot? What makes them great characters? Why
Jon Bernstein Introduction to Screenwriting I, Winter Quarter 10 11-20-09 7 do I care? Continue thinking about the beginning, middle and end of your story, and where the main story beats fall within the three acts. WEEK 8 SCENE CONSTRUCTION DISCUSSION: What movie did you watch? What element does it share in common with your script? How is yours similar, and how is it different? Did watching this movie give you insight or inspiration for your rewrite? We discuss more advanced structure techniques, including flashbacks, narration, foreshadowing, dreams, time locks, tag lines and motifs. CLASS EXERCISE: We take a look at what we have written, and make sure each scene has a clear purpose. How is the scene constructed, and is it advancing the action and building anticipation? Do the characters jump off the page? Every scene should progress the story and deepen the character relationships. A well-written scene weaves together elements of plot, character and conflict. If it s not moving the story forward, cut it! ASSIGNMENT: Write dialogue or descriptive outlines of six key scenes in Act Two. WEEK 9 CLEAN-UP AND DETAIL WORK DISCUSSION: Is Act 2 s problem resolved in a surprising and unexpected way? How has the hero been tested? How are the loose ends tied-up? How does your film look? Does your action and descriptions give the reader a clear sense of the world you are creating? Are your descriptions overwritten, underwritten or just right? Pivotal scenes are often setpieces. Does your script have a setpiece? How can you be more explicit in your stage directions? Do you successful capture the world in your descriptions? We also discuss the importance of using humor, sub-plots, music and special effects. CLASSROOM EXERCISE: Working on their documents, how can they enhance the description and storytelling. Does your writer create a clear vision of the movie? ASSIGNMENT: Work on a non-dialogue sequence using action and description. Try to make it specific and descriptive while being economical with words and language.
Jon Bernstein Introduction to Screenwriting I, Winter Quarter 10 11-20-09 8 WEEK 10 WHAT S BROKEN? HOW TO FIX IT? DISCUSSION: By now we have a fully emerging screenplay. How is everyone feeling about it? We determine what is working nicely, and what needs a bit more work. I share a few stories about famous screenplays that were broken, and how they were changed. Sometimes they require re-shoots, but hopefully it can all get sorted out while it is in script form. CLASS EXERCISE: Students read their pages aloud, and we ask the fundamental questions: What is the story? Who are these characters? What do they want? Do we care? We discuss students Act Breaks, and determine whether they work. Is there something that s not quite working, or that is not quite fully realized? ASSIGNMENT: Write an outline for Act Three, with structure and key scenes. For next week s class, plan on bringing one two scenes from Act 1 to read aloud.. WEEK 11 MAKING YOUR DOCUMENT CLEAN AND PRETTY DISCUSSION: Does our Act 3 feel surprising or predictable? I talk about how there are plenty of ways to be unpredictable while writing a predictable ending. CLASSROOM EXERCISE: Students read their Act 1 pages aloud. Input is offered. Discussion of the Visual Look of the Script. Your screenplay ought to have a clean look with a professional visually appealing screenplay style. Further discussion of the Art of the Edit: filling holes, solving pacing and timing problems. Determining where the story soars, and where it lags. When are we captivated, and when do we lose interest? ASSIGNMENT: Bring in your first 10-15 pages of screenplay in proper script format, to be read in class. WEEK 12 FINALE DISCUSSION: How does everyone feel? Are you happy with your script? Is it where you want it to be? Have we accomplished our goals? Is the script what we had originally thought it was going to be, or did it turn into something different?
Jon Bernstein Introduction to Screenwriting I, Winter Quarter 10 11-20-09 9 CLASS EXERCISE: Students read their first 10-15 pages. The focus is only supportive. Today we are focusing on what students have achieved.