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) 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. INSTRUCTOR: ANDY GUERDAT INTRODUCTION TO SCREENWRITING III: FINISHING THE FIRST SCRIPT X 430C GOAL: To refresh your understanding of the basics of the craft of screenwriting, while completing 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. FINAL DRAFT software has become the industry standard, although there are many other acceptable screenwriting programs available. If you do not wish to invest in such a program, the instructor can provide you with a basic Word screenwriting program.. 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.
2 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. 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 can download the screenplay FOURTH STORY, written by the instructor, as an illustration of the concepts taught in class. This screenplay will also provide students with a template for screenplay formatting. 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: THE BEGINNING OF THE END (AN OVERVIEW) Students hand in their completed outlines and screenplay pages. 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? Trusting your gut. Spec scripts, and why they re worth $380,000 and change. The reading script vs. the shooting script. All those screenwriting gurus and why you shouldn t listen to a word they say. Finding the Ur of your story. Making sure you know the spine of your story. Comedy vs. drama: how far to stand from your story. Drama vs. melodrama and why they re both cool.
3 Following the truth. How screenwriting is like sex. What s the writer s job and what s the director s? The Pyramid of Storytelling. 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. Three questions to test your story spine. Why all good stories are mysteries. The 3 most important words in storytelling. The full pitch V. the party pitch. ASSIGNMENT: Prepare to party pitch your screenplay in 3 minutes or less. OCT. 8 NO CLASS WEEK 2: PITCHING & SCENE DISCUSSION Students receive notes on their outlines. Students pitch their stories. Pitching techniques and why you need to know how to do it. 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: All students write the next scene of their screenplays. Members of Group A will choose a scene and prepare for it to be read aloud in class (and bring enough copies for each speaking part as well as one for the instructor). WEEK 3: READING SCENES All students turn in their scenes. Group A s scenes are read aloud in class. Group analysis and discussion of the scenes. Discussion of genres and how to use them.
4 ASSIGNMENT: Keep writing (3 to 12 pages). Members of Group B prepare scenes to be read aloud in class for analysis and discussion (and bring enough copies for each speaking part as well as one for the instructor). WEEK 4: MORE SCENE READING Students receive notes on their scenes. All students turn in their new script pages. Members of Group B s scenes are read aloud and critiqued. Discussion of how to write dialogue that plays. ASSIGNMENT: Keep writing (3 to 12 pages). Members of Group C prepare scenes to be read aloud in class for analysis and discussion (and bring enough copies for each speaking part as well as one for the instructor). WEEK 5: STILL MORE SCENES Students receive notes on their script pages. Members of Group C s scenes are read aloud and critiqued. Writing comedy. How to be funny when you want to be and avoid being funny when you don t want to be. ASSIGNMENT: Keep writing (3 to 12 pages). Members of Group A will choose a scene and prepare for it to be read aloud in class WEEK 6: DEALING WITH MID-SCRIPT CRISIS Students scenes are returned with the instructor s notes. Group A s scenes are read aloud in class. Group analysis and discussion of the scenes. Help! My story sucks! No, it doesn t. Time for addressing questions and difficulties that have arisen so far. When to go forwards and when to go backwards. How to go backwards. ASSIGNMENT: Keep writing (3 to 12 pages). Members of Group B prepare scenes to be read aloud in class for analysis and discussion WEEK 7: THE HOME STRETCH Students scenes are returned with instructor s notes.
5 Group B s scenes are read aloud and critiqued. Endings made (a little) easy(er). ASSIGNMENT: Keep writing (3 to 12 pages). Members of Group C prepare scenes to be read aloud on class. WEEK 8: REWRITING Students scenes are returned with the instructor's notes. Group C s scenes are read aloud and critiqued. Discussion of techniques to use when rewriting. Students participate in a punch-up session. ASSIGNMENT: Complete your screenplay. WEEK 9: THE HOME STRETCH Students receive the instructor s notes on their scenes. More time for problem solving. A feature film is viewed and analyzed, using what the students have learned so far. How this applies to your screenplay: learning how to let great movies inspire you without imitating them. Guests lecturer. ASSIGNMENT: Come up with a new idea for a screenplay (even if you never write it). WEEK 10: THE END OF THE BEGINNING Students receive final notes on their completed screenplays. Now what do I do? All about agents. Who not to give your script to. And when to not give it to them (or anyone). How to deal with suits. Guest lecturer. ASSIGNMENT: Become rich and famous.
6 SUGGESTED VIEWING LIST In no particular order: LAWRENCE OF ARABIA NOTORIOUS CHINATOWN CRASH CRIMES AND MISDEMEANORS THE APARTMENT ALL THE PRESIDENT S MEN RIDICULE BAMBI 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 THE LIVES OF OTHERS ETERNAL SUNSHINE OF THE SPOTLESS MIND MICHAEL CLAYTON IN BRUGES