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) 825-9415 or via email at writers@uclaextension.edu. We are happy to answer any questions and to help you find the best class to achieve your writing goals. COURSE NAME: WRITING THE FIRST SCREENPLAY IV INSTRUCTOR: Jon Bernstein COURSE REQUIREMENT: Prerequisite: X 440A Writing the First Screenplay I, X 440B Writing the First Screenplay II, and X 440C Writing the First Screenplay III. Students must bring their beat sheets or treatments and Acts I and II to the first class meeting and be prepared to write. Course may be taken as a certificate core requirement. 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. COURSE DESCRIPTION: In the last in a 4-part sequence in writing a feature film screenplay, you reach FADE OUT. In the process of writing Act III, you hone in on structuring conversations; explore how to maximize your story's visual implications; deepen scene writing skills; assemble scenes to form powerful sequences; ensure your script's central conflict is resolved; and work on theme and imagery. Also covered are revision techniques and the business aspects of feature film writing. In each class we will actively watch movies to identify how the rules of screenwriting are implemented.
COURSE OBJECTIVE: The goal is to complete writing your first feature film script. You will also be eligible to submit your screenplay in the UCLA Writers' Program screenplay competition. CLASS GUIDELINES In previous courses we were focused on portions of the screenplay, but in this course students view their screenplays in their entirety. We take a close look at ACTS ONE, TWO and THREE, and determine the beginning, middle and end of each act. We identify the landscapes, set pieces and emotional contours of your story, and make sure that characters' motivations and story beats are consistent and clear. Now is the time to see your screenplay in its full potential. Taking creative risk is a vital part of the screenwriting process. Give yourself permission to write imperfect pages. Only through trying diffferent things and exploring different ideas will you get a clear sense of what your screenplay must be. In this class, I encourage all students to bring in pages and offer full support to other students throughout the 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, embarrassment or failure. There is a constructive approach to hearing and offering feedback. There is a way to be honest in your approach to feedback and also thoughtful to your classmate s feelings. I always remind students that it is your screenplay; only implement the notes you like. Receiving notes and input is an opportunity to make your script better. Listen carefully, and choose wisely. Students must be willing to participate in classroom writing exercises, and also writing assignments outside of class. The focus in this class is a synthesis of the creative writing process and the analytical screenwriting process. Successful screenplays are highly imaginative and also very well constructed. GRADING CRITERIA: Grades, when desired, will be based on the following: 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 WRITING THE FIRST SCREENPLAY IV WEEK 1 IDENTIFYING THE KEY ELEMENTS OF YOUR SCREENPLAY DISCUSSION: We discuss the 2011 Black List and read the loglines of the top 10 screenplays. We identify what is currently working well in your screenplay, and what is working less well? EXERCISE: Students are given 10 index note cards. On the first index card write the TITLE, GENRE and LOGLINE. On the second card describe THE WORLD. How well do you know the world you will be creating? Are the rules of your world clearly established? Your screenplay may have a few different worlds. Is one character in prison and another in a Palm Springs mansion? Is it a midwest Pillsbury bake-off? Write about your world in a vivid, evocative way. On the third card write the STORY in one neat paragraph. Six sentences maximum, ideally capturing the beginning, middle and end. On the fourth card write CHARACTERS. Who is the protagonist at the beginning of the story, and who is he at the end? What does he want, and how does he change? (Better make it compelling. Protagonists lacking strong desire are deadly dull.) Who is the antagonist? The antagonist is the one who creates the drama and brings on the conflict. Are the protagonist's actions logical with clear motivation? On the fifth card write THEME. What is the main idea that imbues the entire screenplay? What's driving you to tell this story, and why are you so passionate and uniquely well suited to tell it? On the sixth card, write INCITING INCIDENT. What happens in the first ten pages that sets your story into motion? Are we hooked into the story? Are the stakes established? On the seventh card, write ACT ONE. This is the Set-Up, when we meet the hero and other characters and learn the main problem of the story. The antagonist is introduced, and the main conflict is established. In late Act One, a plot point occurs that pivots the story in a new direction. On the eighth card, write ACT TWO. Act One's ending delivers the story into the main conflict, complicating the initial problem. The hero gets pulled deeper into trouble, leading to the climax. By the end of Act Two, the hero is defeated and hitting rock bottom. It appears as though all is lost. On the ninth card, write ACT THREE. Act Two's final climax leads to the resolution. The problem is resolved in a
surprising and unexpected way. The hero learns a lesson, and becomes his true self as a result of successfully overcoming the challenge. On the tenth card, write THREE SCENES. What three scenes do you know you want? Write an encapsulation of each. Who are the characters, what is the conflict and where does it happen in the story? STUDENTS USE THESE 10 INDEX NOTE CARDS AS A SCRIPT TO PITCH THEIR SCREENPLAYS. A good pitch is not a chronological re-enactment of every scene in your movie. A good pitch identifies the main elements of your screenplay. Is the premise compelling? Is the big idea maximized to its fullest? Is it visually interesting? Can we picture it as a movie? Who is the character in the beginning and end? How active is your protagonist? What journey does the character go on, and what is his/her main conflict? Does the story hook us in with an interesting and original idea? Does the protagonist have a strong desire, and is he/she tested in a compelling way? Does your story have a strong hook? Is the story sustained for three acts, or does it falter? Is the genre maximized to its fullest potential? Where is the true emotion in the story? After pitching the main elements of your screenplay and hearing feedback, what are the strengths and weaknesses of your screenplay? Are there any holes? ASSIGNMENT: Next week bring in pages from Act One or Act Two. WEEK 2 ACTS ONE AND TWO SCENE WORK We read the FUNDAMENTALS OF STRUCTURE as if it were a blueprint for the construction of your screenplay. Following the Fundamentals of Structure will help identify the weaknesses in the structure of your screenplay. We discuss the main elements of Acts One and Two with a focus on the most important part of Act One: delivering the story into the main conflict and complicating the initial problem. The hero tries solving this bigger, more complicated problem, while the adversary opposes. How is your Act One changing as you get deeper into Act Two? We talk about STORY COMPRESSION, and the importance of writing economically and conveying story through action and dialogue. A well-written scene often accomplishes several things at once. We discuss using note cards to help visualize it, and seeing scene flow.
CLASS EXERCISE: Students read scenes aloud. Constructive input is offered. We evaluate the scenes. How is it establishing tone, and progressing the story? Focus on making your dialogue vivid and dynamic, resist clichés, strive for authenticity and originality. ASSIGNMENT: Next week bring in a scene from Act Three. WEEK 3 ACT THREE SCENE WORK We discuss the four main elements of a screenplay: THEME, STORY, CHARACTER and TONE. It is vital to have a clear idea of the THEME of your script (the main idea you are exploring). DISCUSSION: By the time we have reached Act Three, has the hero been truly tested? Was the adversary a true opponent? Was the conflict fully realized? The final climax in Act Two brings us to the resolution, and the problem is resolved in a surprising and unexpected way. The hero learns a lesson and becomes his/her true self as a result of successfully overcoming the challenge. Loose ends are tied-up, and we see how the climax affected the other characters in the story. ASSIGNMENT: Continue working on Act Three and bring in another scene. We will continue working on Act Three next week. WEEK 4 MORE ACT THREE SCENE WORK Usually when we get deeper into our story, we begin to discover elements needing adjustment in Act One. Many problems in Act Three can be fixed by revising Act One. By the time you reach Act Three, you have a clear sense of what you need, which may mean implementing new set-ups in Acts One and Two. CLASS EXERCISE: Students read scenes from Act Three. Constructive input is offered. DISCUSSION: How is everything coming together? Is the story building in a satisfying way? Has the protagonist changed in a meaningful way by the end of Act Three? If something isn t working, what can be done to fix it? If it can t be fixed, how about removing it entirely?
ASSIGNMENT: Write a diary entry as one of your characters. Bring it in to next week's class to be read. WEEK 5 GET TO KNOW YOUR CHARACTERS Keeping a diary written in first person is a great way of getting inside your protagonist's head. It maintains a clear understanding of motivation. If your protagonist doesn't have an increasing motive, she cannot change. Many protagonists in screenplays have a secret, and writing a first person diary entry is a good way to explore the character's inner life. A VIVID, WELL-REALIZED CHARACTER DICTATES THE COURSE OF ACTION FOR THE SCREENPLAY. DISCUSSION: How well do you know your characters? Do they jump off the page? At a certain point, characters ought to become so dimensional and lifelike that they will tell you what they will or won t do. Who are your principal characters? Who are the protagonist and antagonist? Do we like him/her? Do we care about the relationships? What is the problem for the hero? Is the problem compelling? What does your hero want? CLASS EXERCISE: Students read character diary entries aloud. Does the character have a unique and distinctive voice? Write about what your character wants, and all the possible challenges he/she will face in pursuit of the goal. Clarify MOTIVATION for main characters in order for story and character to expand. Characters need desire and motivation for story and character to grow. If your hero doesn t have a clear motivation, he/she is unable to grow or change. ASSIGNMENT: Next week bring in A NEW SCENE FROM ACT ONE, TWO or THREE to be read aloud. The scene ought to lend insight into the unique complexity of the character. WEEK 6 CHANGE IS GOOD This is the time to determine what's not working, and whether it's best to try to fix it or abandon it. We discuss the pros and cons of changing your mind. Sometimes we cling too tightly to what we think the story is. A fresh new idea can take the story in a new, surprising direction and give your screenplay a much needed burst of fresh air. The disciplined screenwriter will continue working on his/her screenplay, coming up with new ideas to keep making it better and better. CLASS EXERCISE: Tonight we write a new scene in a 15-minute speed write. Keep the pen moving for fifteen minutes. Try not to stop. Keep writing. The purpose of this
exercise is to write freely without the voice of the inner critic slowing us down. Sometimes riffing on a crazy idea can lead to unexpected results and pleasant surprises. Students read a NEW SCENE which lends insight into the uniqueness and originality of the character. How is the new material working? Are you excited about the new direction the script is taking, or are you feeling uncertain and confused? Are the changes you are making sharpening the script and making it stronger? ASSIGNMENT: Next week bring in a scene with a focus on ACTION. WEEK 7 WORK ON SCENES WITH ACTION AND CONFLICT All screenplays must have action and conflict, which are vital for a good movie. Conflict and a proactive hero become the engine to motor your way through the screenplay. We determine if our protagonist is active enough, and look at ways to make him more active. We also take a look at the action sequences in our screenplay, and make sure they are written in a thrilling, compelling way. What is the action moving the story forward in your scene? Does your script have a TICKING CLOCK, a device that gives a certain period of time in order for a key event to occur. CLASS EXERCISE: Students read scenes that showcase/highlight action and conflict. Constructive input is offered. Make sure that each scene has a purpose and is necessary; it must advance the action, create anticipation or shed light on one of the characters. Is the dialogue weighing down the action? We also discuss SCENE CONSTRUCTION. Most scripts have setpieces weddings, bank heists, Junior Proms in which many mini-scenes happen in one big scene. We look at setpieces in students screenplays, and determine the best approach to constructing and writing them. ASSIGNMENT: Next week bring in a scene with EMOTIONAL CATHARSIS. WEEK 9 WORK ON SCENES WITH EMOTIONAL CATHARSIS
There is no need to be manipulative, contrived or melodramatic when it comes to the emotion in your screenplay. Locate and identify the true emotion in your story and tell it honestly. DISCUSSION: A sacred object is a visual leitmotif used in screenplays to convey deep emotion and reinforce theme. Many screenplays have something that resonates with meaning and deep emotion? A found letter. An inscribed locket. A gun. A thoughtful use of a deeply meaningful and sacred object can convey a lot of story and emotion in one image. CLASS EXERCISE: How can you reinforce your theme and pack a powerful emotional punch with the use of a sacred object? Tonight we will spend 15 minutes thinking about how a personal belonging or found item can enhance our story or provide deeper dimension to the character. Students read scenes that showcase/highlight emotional catharsis. ASSIGNMENT: Students are asked to bring in any scene of their choosing for next week's class. WEEK 9 THE (ALMOST) FINAL DRAFT The screenplay is never really done. It goes on and on, rewrite after rewrite, until it finally makes it into production. Then in production it is rewritten. If the screenplay is being constantly rewritten, how do you know when it's done? The successful screenwriter is a writer-editor-critic all-in-one. It's like there are three different workers inside your head: the writer, the editor and the critic. All three of them are vital to good writing. Tonight we will look at our work with an editorial and critical eye. Now is the time to make sure each of your scenes has a purpose and is necessary. A well-written scene weaves together elements of plot, character and conflict. Do it in one scene instead of four. Every scene should progress the story and deepen the character relationships. If it s not moving the story forward, cut it! How are your scenes furthering and reinforcing your theme? The theme is the main idea / message that you are weaving into the fabric of your story. Ideally, the theme should resonate as the Hero and Opponent come into conflict. We take a look at five key areas of the script and make sure they are strong: 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. ACT ONE BREAK when the story pivots into a whole new direction.
ACT TWO BREAK when the protagonist hits rock bottom and it appears all may be lost. Become friends with your red ink pen and start hacking away everything superfluous and inessential. It's time to cut out the fat in your screenplay, and make it lean and mean. DISCUSSION: We talk about the business, marketplace for spec screenplays and most effective approaches to getting an agent or manager and selling your screenplay. The bottom line is agents, managers, directors, producers and actors are looking for good screenplays with strong characters. Is your script ready to be seen? ASSIGNMENT: Students are asked to bring in 3-5 of their favorite pages for next week's final class. WEEK 10 CELEBRATION! You did it! You finished your screenplay. Okay, maybe you didn't, and that's okay, too. Whatever the state of your screenplay, I encourage all students to bring in three favorite pages. Now is the time to celebrate your achievement. Also, students are now eligible to submit their screenplays to the UCLA Writers Program screenwriting competition. CLASS EXERCISE: Students read excerpts of their screenplays. The focus is only supportive. By the course s end, we have written a screenplay with clarity and purpose. We have figured out what was broken, and have fixed it. We have identified the genre, and maximized it to its full potential. We have re-discovered what compelled us to write it in the first place. We have done the work necessary for bringing your screenplay to the next level.