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. WRITING THE FIRST SCREENPLAY II X 440B Wed. 7 10 PM INSTRUCTOR: ANDY GUERDAT GOAL: To refresh your understanding of the basics of the craft of screenwriting, while completing the first act of your screenplay. For those students who have taken Screenwriting I from the instructor, each week the material covered will provide a refresher on a given aspect of screenwriting, as well as a more in-depth discussion than covered in the prior course. For those who have not taken a prior course from the instructor, the weekly lecture and discussion will introduce the students to the instructor s screenwriting theories and terminology. 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 is recommended. If you don t want to invest in either of these programs, the instructor can provide you with a basic screenwriting program in Word.
2 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. I ve tried to include films of every different genre - from horror to family drama to romantic comedy - so that each student may find films that directly relate to his or her screenplay. 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 SUPPLEMENTS: The class will receive supplemental attachments: A glossary of film terms. A basic Word screenwriting template for those who don t have screenwriting program. A formatting guide. A completed, produced screenplay to use as a reference. INSTRUCTOR S SHORTHAND: When critiquing scripts, the instructor uses shorthand to save time and muscle cramps. When you see a notation in the margin of your returned script, this is the key: R = reality check. Something about this line or story beat doesn t feel truthful. O = too obvious. The sentiment is right, but it s stated to so blatantly, one can feel the writer s hand. P = punch. The right idea, but it could be presented in a funnier or more powerful way. W = wording. Again, the right idea, but the wording feels awkward.? = huh? Just don t get what you re going for. GRADING: Attendance: 25 points Class participation: 25 points Homework assignments: 25 points Screenplay pages: 25 point
3 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 9/22 Students hand in their completed outlines. 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. 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? The Pyramid of Storytelling. The Wow! That d be so cool! method of screenwriting. Making sure you know the spine of your story. Three questions to test your story spine. Why all good stories are mysteries. The 3 most important words in storytelling. The good ol Three Act structure and why it s really no big deal. Endings made (a little) easy(er). Pitching techniques and why you need to know how to do it. The party pitch vs. the professional pitch. ASSIGNMENT: Prepare to pitch your story idea in 7 minutes or less. WEEK 2: PITCHING 9/29 Students receive notes on their outlines. Students pitch their stories and receive feedback. ASSIGNMENT: Rewrite your outline as necessary based on the notes you receive from the instructor and students feedback. WEEK 3: SCENE STRUCTURE 10/6
4 So what is a scene anyway? Breaking down a story into units of information. Defining dramatic conflict. Writing subtextually. Writing with pictures. Arc-ing your scenes. Finding the axe of your scenes. Baiting the hooks of your scenes. Critical viewing of scenes that work or don t. Classroom exercises. ASSIGNMENT: Write your first scene (5 pages, maximum). Selected students scenes will be read aloud in class. Those students should bring enough copies for each student as well as one for the instructor. WEEK 4: READING SCENES 10/13 Students receive notes on their rewritten outlines. Students scenes 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. ASSIGNMENT: Write (at least) your next 3 scenes. More students scenes will be read aloud in class. Those students should bring enough copies for each student as well as one for the instructor. WEEK 5: MORE SCENES 10/20 Students receive notes on their scenes. Students scenes are read aloud and critiqued. Comedy vs. drama: how far to stand from your story. Instructive scenes are viewed. Classroom exercises. ASSIGNMENT: Write (at least) your next three scenes. WEEK 6: STILL MORE SCENES 10/27
5 Students receive notes on their scenes. More scenes are read aloud and critiqued Drama vs. melodrama and why they re both cool. Following the truth. Genres and how to use them. Classroom exercises and instructive scenes are viewed. ASSIGNMENT: Write (at least) your next three scenes. WEEK 7: OH BOY! DIALOGUE! 11/3 Students receive notes on their subsequent scenes. More students scenes are read aloud and critiqued in class. 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: Write (at least) your next three scenes. WEEK 8: OH BOY! RE-WRITING DIALOGUE! 11/10 Students receive notes on their subsequent scenes. More scene cold-readings Students participate in a punch-up session. More movie analysis. ASSIGNMENT: Rewrite your script so far. WEEK 9: PROBLEM SOLVING 11/17 Students receive notes on their subsequent 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. 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.
6 NOV. 24 NO CLASS DEC. 1 NO CLASS WEEK 10: THE END 12/8 Students receive notes on their scripts so far. More time for problem-solving. Guest lecturer. Individual conferences with students. ASSIGNMENT: Become rich and famous.
7 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