School of Cinematic Arts



School of Cinematic Arts

Writing Division

CTWR 543: The Character-Driven Screenplay

Instructor: Ed Horowitz

Class Schedule: Mon, 1:00-3:50

Class Location: SCA 362

Office Hours: Tbd

Contact Information: horowitz90404@

Course Objective:

Upon completion of this course, students will:

1. Demonstrate an advanced and expanded knowledge of the dramatic and structural elements that create a compelling and effective screenplay.

2. Be able to articulate the unique qualities of the screenwriting process that will enhance their roles in the professional writing world.

3. Determine which approach and style is most effective for executing and manifesting their personal writing goals.

4. Determine which approach and style is most effective in expressing their unique voice as a writer.

5. Take an idea, flesh it out and turn it into a well-crafted, properly formatted screenplay that meets the commercial demands of the market.

Course Description:

Designed for the graduate level writer who has completed at least one screenplay, this course will guide each student through the writing of a full-length feature screenplay from concept to script. This is a workshop course. Student work will be read in class and critiqued. Instruction will focus on character, plot, structure and the essential elements of good dramatic writing. Each student will be expected to meet specific deadlines, as well as complete a first draft of a feature length screenplay at the end of the semester.

Course Reading:

There is no required reading.

Recommended Reading:

The Art of Dramatic Writing, Lajos Egri. Simon & Shuster, 1960. This book systematically breaks down the essentials for creating realistic drama and effectively demystifies the process of creative writing. The chapters on “premise” and “character” are especially valuable.

The Writer’s Journey. 2nd Edition. Mythic Structure for Writers, Christopher Vogler. Michael Wiese Productions, 1998. This book explores character and story elements popularized by mythologist Joseph Campbell, and applies them to screenwriting.

Screenplay: Writing The Picture, Robin U. Russin/William Missouri Downs. Harcourt Inc, 2000. An excellent overview of the craft, this book focuses on the techniques writers need to master the writing of compelling, well-structured screenplays.

Screenplays. Read as many as you can! You can go online and find many classic and not so classic scripts. You can find extensive hard copy screenplay collections in L.A. at the Academy of Motion Picture Arts and Sciences, the Writer’s Guild and the School of Cinema Arts Library.

Grading Criteria:

There will be lectures, dicussions, reading and screenings; but above all there, there will be lots of writing. Finishing your work ON TIME and DISTRIBUTING your work to everyone in class via an email thread 2 days before the next class will be your responsibility. Students are expected to have read each other’s work and come to class prepared to discuss and provide feedback.

Homework will be due: 8:00 AM Saturday Morning.

Format: All essays, assignments other than your script, pitch material, outlines and beatsheets must be delivered as a Word file (.docx), in 12-pt font. All scripts must be delivered using proper screenplay formating in Final Draft (.fdx).

Students should have a working knowledge of Final Draft, as notes on your work will be provided via scriptnotes within your Final Draft document.

Grade Breakdown will be as follows:

Participation: 10%

Pitch: 10%

Outline: 20%

Treatment: 20%

Final Screenplay: 40%

-----------------------------------

100%

Per Writing Division policy the following is a breakdown of numeric grade to letter grade:

A 100% to 94% C 76% to 73%

A- 93% to 90% C- 72% to 70%

B+ 89% to 87% D+ 69% to 67%

B 86% to 83% D 66% to 63%

B- 82% to 80% D- 62% to 60%

C+ 79% to 77% F 59% to 0%

Class Policies and Guidelines

As a workshop, you will be expected to present your work and get feedback. You’ll also be expected to give constructive feedback to your classmates in the form of consistent, meaningful contributions. You are expected to have read each others’ work prior to class. You are being asked to give honest feedback of how the work affected you. You are not trying to fix their work or solve their problems. Each writer has the choice as to how s/he wishes to proceed. Feedback should always be about the work and should never be directed at the writer.

Expectation of Professionalism:

All material is expected to be turned in on time and in the proper format. Assignments will be penalized for grammatical mistakes, spelling errors, format mistakes, and typos. Please proof your assignment prior to submission.

Writing Division Attendance Policy:

Students are expected be on time and prepared for each class. Two unexcused absences will result in your grade being lowered by one full point (ex: A to a (A-). A third unexcused absence will result in your grade being lowered another full point (ex: B to a (B-). Your grade will be lowered by one point for every absence after. Two late arrivals equates to one full absence.

In order for absence to be excused the student must have approval from the professor and provide documentation at the next attended class session.

Please note that if you are a Writing for Screen and Television major/minor you must receive a grade of a C or better in order to receive degree credit. If you have any questions about the minimum grade required for credit please check with your home department.

If you have an emergency and must miss class please contact your professor prior to class or contact the Writing Division at 213-740-3303.

Laptop and Cell Phone Policy:

The use of cell phones/smart phones/iPads/tablets is expressly forbidden, unless used for research or other class-related work, under the direct supervision of the instructor.

Phones, etc, should be turned off and kept out of sight during class. The first violation will result in a warning. Second and subsequent violations of cell phone policy will result in immediate expulsion from class. The student will be marked absent for the day.

Class Schedule:

Please note that all dates are subject to change at the discretion of the professor.

SCHEDULE

Week 1: Ideas, Genres, Structure and Action

Lecture: Course overview. An approach to writing: preparation matters. Why thinking is writing. How the writing process will unfold. Workshop conduct: how to give and get notes.

What is a story? What makes a good story? What makes a good movie? How do we get there from here? What is a high concept idea? What are the rules of the genres? What are the types of plots?

3-Act, 4-Act, 8-Sequence Structure: why they are all the same thing. What are “plot points?” What are the steps in each act that link the story together? How does each act complement the next?

What do we mean by the terms: “End of Act One,” “Midpoint,” “Lowest Moment,” End of Act Two,” “Climax” and “Resolution,” etc,? What are “The 8 C’s” of every screenplay?

What is dramatic action? What is rising conflict? What is the three act structure? What if it actually has four acts? What is the “midpoint?” How do the acts lead from one to the next?

What to think about when thinking about your screenplay ideas? What is a “logline?” What a “plotline?” What is the difference and how do you use each?

Handouts: Screenplay Structure Broken Down; The Core Story Spine; The 8 C’s of Screenwriting

Assignment: Write a logline for the screenplay that you would like to write. Define your genre.

Make a list of 5-10 movies that are similar yours, pick three and write loglines for those.

Write a one page statement that explains what you want to write about and why.

Week 2: Plot vs. Character: What Makes Them Work

Lecture: What makes characters stand out? What’s a protagonist? What’s an antagonist? Aims, goals, wants and needs; how do they differ? What is “The Unity of Opposites?”

What makes interesting, active characters? What is “The Hero’s Journey?” How do I make my characters grow? How do other characters help and/or force your main character to change?

Handouts: Plot vs. Character; Creating Characters; Character Checklist; Motivations

Assignment: Write a one page story for your screenplay. Each paragraph should have no more than three sentences. Each paragraph should represent Acts One, Two, Three and Four.

Write a 500 word (1-2 page) description for your Protagonist:

- Who is your main character: age, gender, social status, background, etc.?

- What s/he wants at the start of your story vs. what s/he needs?

- How does to your main character get what s/he wants?

- What does your main character learn along the way?

- How does your main character change by the end?

Do the same for your Antagonist.

Week 3: Essential Elements of a Screenplay

Lecture: Why plot matters. Why characters are essential. What are the different types of supporting characters in a movie? What to do with minor characters.

The Story Structure Spine. Why language matters – even at this stage. Writer-based vs. Reader-based writing. How to the pieces fit together.

Handouts: The Story Structure Spine

Assignment: Write a “plotline” for your movie; be prepared to tell it (without notes) to the class.

Watch a movie from you genre list in the homework for Week #1. Define and label the story structure points with the time noted for each step.

Write up all the steps of your Story Structure Spine.

Week 4: Scenes and Beatsheets

Lecture: What is a scene? How does it relate to a “story beat?” What is a “beat?” What is a “beatsheet?” How to use a beatsheet to construct your story. How to turn your Story Structure Spine to start your beatsheet.

The 6 essential questions to ask before writing a scene: Where are we? Who is here? What are they doing? Why are they doing what they’re doing? What are they saying? Why are they saying that?

Handouts: Beatsheets Explained; The Sample Beatsheet; What to Know Before Writing a Scene

Assignment: Pick another movie from you genre list in the homework for Week #1. Define and label the story structure points with the time noted for each step.

Using your Story Structure Spine, create a beatsheet for your screenplay, filling in the scenes between the plot points with necessary story beats.

Week 5: Working with Beats from The End to the Beginning

Lecture: You can’t know where to start your story if you don’t know where it ends. How to work backwards to the best starting point for your main character and story. How to make your main character stand out. How to introduce the world of your story. Story Questions: how to foreshadow and keep the audience asking, “What’s Next…?”

What is the theme of a movie? Why is it necessary? How is it presented? How are verbal and visual metaphors used? How does it affect the viewer? How should we think about theme? How does the theme help us track the main character’s emotional evolution?

Handouts: Working with Themes and Metaphors; On Language in Scripts; On Narration

Assignment: Watch Casablanca. Create a beatsheet of the movie with the time noted for each beat. Identify the The 8 C’s and the 28 Story Structure Spine Elements.

Based on class feedback, revise your beatsheets.

Week 6: Fleshing Out Your Story from Beatsheet to Outline

Lecture: Class discussion of Casablanca. Could you find the beats and elements?

Scenes: What makes a scene work? Breaking down story into bits of information. Advancing the story. Dramatic Action vs Scene Action. Beginnings, middles and ends – in scenes, too! Attacking a scene: get to the point and get out. One big idea for each scene

Dialogue: What makes good dialogue work? Dialogue as action. How it reveals character. Subtext Wants and Desires. How it reveals inner conflict. How to make exposition work. The art of listening. How to find the rhythm of a character’s speech. How to recognize good dialogue.

Handouts: Casablanca Scene Breakdown; On Dialogue, Dialogue Part 1; Dialogue Part 2; How to Write a Scene

Assignment: Revise your beatsheets as needed, then begin to flesh out your outline. Add dramatic actions, character beats, dialogues idea and narrative ideas to each scene.

Week 7: Sharpening Your Work Before You Start

Lecture: Before going to script, make sure your work is the best it can be. What are the important incidentals that make a script a compelling experience? How do you hook the reader? How to create tone and mood using description.

Writing a scene. Writing with pictures. How to you get your reader to see the movie you want them to see? You can’t be too specific. Find elegance in your writing. Remember, it’s narration, not prose. Directing through punctuation. What is all that stuff on the left margin between the lines of dialogue? What are all those parenthesis?

Handouts: Directing Through Punctuation

Assignment: Based on class feedback and discussion, continue to your outline. Pay close attention to the 2nd half of your story from midpoint shift to the climax.

Watch a third movie on your genre list. Do a beatsheet, with the time noted for each beat.

Once students start writing their scripts, there will be no handouts or assignments other than writing and re-writing pages. Students will be expected to read all the pages submitted that week and come prepared to provide constructive feedback in class. As needed, suggestions may be given to individual students regarding viewing and writing exercises to help overcome specific problems. These assignments are not mandatory. They won’t help or hurt your grade; however, they may help your writing which could have an effect on your final grade.

Week 8: Starting Act One

Lecture: The First Sequence:

Opening Scenes.

- Hooking your audience

- Opening set piece

- Establishing a story question

Introducing Your Main Character / The Normal World

- Introducing and building the main character

- What's in a name?

- How do you make the audience like them?

- Opening moments and lines

Inciting Incident

- How does your Main Character react?

- What does your main character do?

Conflicted Wants

- What compromises does your Main Character make?

- Plot “Want” vs Story “Need”

Assignment: Write the 1st Sequence of your script, from the opening scene to the conflicted want (approx. pages 1-15).

Week 9: Finishing Act One

Lecture: The Second Sequence:

Character Debate

- Wants and Needs

- Attitude, Expectations and Point of View

- Who are the friends and foes that force your character to act?

- What mistakes are made? What lessons learned?

Clear Want

- How does your character arrive at this want?

- Is it fundamental and vital?

- Will it drive your main character to the climax of your story?

Assignment: Based on class feedback, revise your pages then write the 2nd Sequence from your conflicted want to the clear want (approx. pages 15-30).

Week 10: Starting Act Two

Lecture: The Third Sequence:

First Course of Action

- How Wants and Desires are expressed?

- How is your Main Character’s plan put in place?

Allies & Friends

- Types of Characters and their Functions

Antagonist & Enemies

- What makes a good Antagonist

- How other enemies function

Subplots and “Wanted Objects”

Assignment: Based on class feedback, revise your pages then write the 3rd Sequence from your clear want to the midpoint of act two (approx. pages 31-45).

Week 11: Finishing Act Two

Lecture: The Fourth Sequence:

Tests, Skills and Knowledge

- Foreshadowing character and plot

Establishing Subplots

The Antagonist’s Plot

Midpoint Shift

Assignment: Based on class feedback, revise your pages then write the 4th Sequence from the midpoint of act two up to the midpoint shift in your script (approx. pages 46-60).

Week 12: Starting Act Three

Lecture: The Fifth Sequence:

The Lull before the Storm

Revised Course of Action

Suspense vs. Surprise

Setups, Buildups and Blowups

Subplots and Wanted Objects

Assignment: Based on class feedback, revise your pages then write the 5th Sequence from the midpoint shift to the midpoint of act three (approx. pages 61-75).

Week 13: Finishing Act Three

Lecture: The Sixth Sequence:

Subplot Development

Rising Tension

Increased Conflict & Amped Up Stakes

Character Self-Acceptance

Lowest Moment

Assignment: Based on class feedback, revise your pages then write the 6th Sequence from the rising conflict to the lowest moment (approx. pages 75-90).

Week 14: Starting Act Four

Lecture: The Seventh Sequence:

Moment of Weakness & Resilience

Final Action Course

Paying Off Subplots

Rising Tension

Assignment: Based on class feedback, revise your pages then write the 7th Sequence from the beginning of act four to the midpoint (approx. pages 90-105).

Week 15: Finishing Act Four

Lecture: The Final (Eighth) Sequence:

Wrapping up the minor threads

Climax

Resolution/Change

Assignment: Based on class feedback, revise your pages then write the 8th Sequence from the midpoint of act four to the end of your script (approx. pages 90-105).

Finals Week: Finishing and Revising

Revise or finish writing pages as needed. Final Scripts will be due on…(class is on Monday; are scripts due that day or at the end of the week)…?

Statement on Academic Conduct and Support Systems

Academic Conduct:

Plagiarism – presenting someone else’s ideas as your own, either verbatim or recast in your own words – is a serious academic offense with serious consequences. Please familiarize yourself with the discussion of plagiarism in SCampus in Part B, Section 11, “Behavior Violating University Standards” .  Other forms of academic dishonesty are equally unacceptable.  See additional information in SCampus and university policies on scientific misconduct, .

 

Support Systems:

Student Counseling Services (SCS) - (213) 740-7711 – 24/7 on call

Free and confidential mental health treatment for students, including short-term psychotherapy, group counseling, stress fitness workshops, and crisis intervention.

National Suicide Prevention Lifeline - 1-800-273-8255

Provides free and confidential emotional support to people in suicidal crisis or emotional distress 24 hours a day, 7 days a week.

Relationship and Sexual Violence Prevention Services (RSVP) - (213) 740-4900 - 24/7 on call

Free and confidential therapy services, workshops, and training for situations related to gender-based harm.

Sexual Assault Resource Center

For more information about how to get help or help a survivor, rights, reporting options, and additional resources, visit the website:

Office of Equity and Diversity (OED)/Title IX Compliance – (213) 740-5086

Works with faculty, staff, visitors, applicants, and students around issues of protected class.

Bias Assessment Response and Support

Incidents of bias, hate crimes and microaggressions need to be reported allowing for appropriate investigation and response.

The Office of Disability Services and Programs

Provides certification for students with disabilities and helps arrange relevant accommodations.

Student Support and Advocacy – (213) 821-4710

Assists students and families in resolving complex issues adversely affecting their success as a student EX: personal, financial, and academic.

Diversity at USC

Information on events, programs and training, the Diversity Task Force (including representatives for each school), chronology, participation, and various resources for students.

USC Emergency Information

Provides safety and other updates, including ways in which instruction will be continued if an officially declared emergency makes travel to campus infeasible,

USC Department of Public Safety – 213-740-4321 (UPC) and 323-442-1000 (HSC) for 24-hour emergency assistance or to report a crime.

Provides overall safety to USC community.

PLEASE NOTE:

FOOD AND DRINKS (OTHER THAN WATER) ARE NOT PERMITTED IN ANY INSTRUCTIONAL SPACES IN THE CINEMATIC ARTS COMPLEX

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