School of Cinematic Arts



School of Cinematic Arts

The John Wells Division of

Writing for Screen and Television

CTWR 412: INTRODUCTION TO SCREENWRITING

Spring 2020

Instructor: Beverly Neufeld

Class Schedule: Friday, 10 am – 12:50 pm

Class Location: SCA 342

Office Hours: Before or after call, or by appointment

Contact Information: bneufeld@usc.edu

Course Objective:

To provide an understanding of the fundamentals of screenwriting, leading to the completion of a 15-20 minute long screenplay.

Course Description:

In this class, we will study characters, dialogue and story in films, clips and scripts. Students not only learn how to write a fully-realized movie short, but they will develop and hone their individual voices and learn the fundamentals of scene development and laying out story while creating unique, three-dimensional characters. They will come to understand the process of writing a 20-30 page screenplay as a stepping stone to writing a full-length feature.

Homework And Notes:

Homework is due either in class when we are sharing it, or when stated, via email, 24/48 hours before class, in order to give your classmates (and the professor) time to read/analyze your work.

Notes: Students will give in class feedback and notes, in a supportive and safe environment. While line notes are important, what I’m really looking for is your ability to tell if the deeper things in the script, such as plot, character, and theme are working.

While it’s natural to focus on what is not working, it’s also important to identify where writing is successful. A writer may be unaware of what is working, and pointing this out helps establish a benchmark and direction to which the writer may aspire.

Presentation:

As this is a writing class, formatting errors, typos, bad spelling, grammar and overall sloppiness are NOT ACCEPTABLE.

Exceptions will be made for students whose primary language is not English.

Naming your documents:

eg: YourName-AssignmentName.doxx

Or: DEBBY-characters.pdf, or:

SMITH-characters.pdf

For printed material: Put your name, title and page number on the Header of EACH PAGE of your material. Refer to the SCHEDULE for due dates of specific assignments.

UNEXCUSED, LATE ASSIGNMENTS WILL BE DOCKED 50%

Course Requirements, Texts, Software, Etc:

There are no textbooks to purchase, but:

Imperative reading:

(In addition to select screenplays)

Save The Cat by Blake Snyder - Michael Wiese Productions, -try AMAZON

The Writer's Journey by Christopher Vogler 3rd ed. Michael Wiese Productions

Complete Guide to Standard Script Formats by Cole and Haig

Students should use the industry standard screenwriting software, Final Draft, which gives a discount for students. There is also a free screenwriting software program, Celtx, that can be used as well.

Students should also have a Netflix, Prime or Hulu account, or a way to watch films assigned to them. The instructor will screen clips in class, and students will need to watch one film and read one feature screenplay of their own choosing. The following is a link to the top 10 screenplay databases:



And:



Also both USC and The Writers Guild on Fairfax and 3rd have Script Libraries students can access. For information on the Writers Guild Library:

Note that with the Writers Guild Library requires peoplle to go in and physically read materials there. Scripts can not be checked out.

Grading Criteria:

Participation: 5%

Seven in-class exercises: 5% each: 35%

Five Preparatory HW Assignments: 5% each - 25%

Three Assignments for Final Script: 5% each - 15%

Final Short Script: 20%

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

100%

As 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%

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.

Internet Policy:

Material discussed in the room is considered private and should not be blogged, tweeted, posted, snapchatted, or be posted anywhere else on the internet.

Recording Devices:

You may not record lectures or workshops without the consent of the instructor.

Laptop and Cell Phone Policy:

Laptops are permissible for taking notes. No cell phones.

Writing Division Attendance Policy:

Students are expected be on time and prepared for each class.

On the third absence, students will have their final grade lowered by 10% and an additional 10% for each absence thereafter. Two late arrivals equates to one full absence.

Note: This is a change in policy. Instructors will no longer distinguish between an excused or unexecused absense. An absence will be an absence.

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/or know you will miss class please contact your professor prior to class or contact the Writing Division at 213-740-3303.

If a student has an emergency and additional accomodations are needed, those accomodations will need to come through the USC Campus Support and Intervention (CSI) office. The Writing Division recommends the student and/or advocate contact CSI at 213-821-4710 and their home department adviser for additional support.

Class Schedule:

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

January 17: An overview of screenwriting and the differences between scripts vs. prose. Hand out survey to see what students already know, what they want to focus on, and what kind of ideas they already have. Exercise: Write an amaizing first line of a story. Go over genres, and then a simple formula for activating a premise into a possible cinematic plot. See how genres can enhance and inform ideas. Exercise- write a one sentence premise and see how different genres might change it. Explain loglines and have them come up with some from movies they know.

ASSIGNMENT #1: Read an assigned screenplay, Slumdog Millionaire, and be prepared to discuss the genre, premise, characters, stakes and more. Also be prepared to share your logline for it.

January 24: Discuss Slumdog Millionaire. What is the logline of the movie? What is the genre? What did you like or not lke about the characters? What were memorable scenes and why? Discussion and handout of dialogue for films and how it differs from real life dialogue. Discuss voice. Exercise: Break up scene. Write a dialogue between two characters where one wants to break up and the other does not, and doesn’t even see it coming. The focus is on subtext, and not having people state their thoughts and feelings directly.

ASSIGNMENT #2: Listen to real dialogue between people in your life and then write it up as dialogue for a movie, taking creative license and fictionalizing it. Use at least 3 rules from the handout. Email to class as PDF by Thursday, January, 30, at 9pm.

January 31: Share and discuss dialogues. Show clips from movies with great dialogue. Exercise: Write a scene where we realize a lot about a character from their dialogue (i.e. Clint Eastwood- “short.”)

(Any Given Sunday – Inches)

(The Help opening scene – start at) 0.25)

(When Harry Met Sally)

ASSIGNMENT #3: Read the script for Shawshank Redemption focussing on dialogue and be prepared to share about characterization, voice, subtext, etc.

February 7: Discuss Shawshank Redemption. Discuss what is important to consider when writing great characters. Internal, External goals. Set up flaws and strengths, arcs and journeys, relationships, backstory and obstacles. Exercise: Write 2 character descriptions – each ¾ of a page. One is of someone you know well and the second is a fictional one. Share, and also discuss which was easier to do and why.

ASSIGNMENT #4: Put the two characters you have crafted into a tense situation and write a dialogue scene between those two characters. Include a conflict and resolution. Email to class by Thursday, February 13 at 9pm.

February 14: Share dialogues. Move to visuals. Show, don’t tell. How do we convey without dialogue? How would the audience understand the mood, emotions, genre, etc that we want to set up? Use the senses. Show PDF examples of great settings: Dances With Wolves, Game of Thrones, Straight Outta Compton, and Saving Private Ryan. We can also tell about characters from their environments and actions. Exercise 1: Write a description that takes place in a high school, with no dialogue, conveying how a character feels and what’s going on. Exercise 2: Describe an extremely happy place. Describe a disturbing or sad place. We’ll share next week.

ASSIGNMENT #5: Fill out character sheets for characters from Assignment #4. Email to me by Wednesday, February 19 by 5pm.

February 21: Share settings from last week. Settings and mood continued, and also informing characters and scenes by their actions. Exercise: Anticipatory scenes. Have a character getting ready for something (no dialogue). First write it setting up that something romantic is about to happen. Rewrite the same scene that something foreboding or bad is about to happen.

ASSIGNMENT #6: Finish for HW. Email to class by Thursday, February 27 at 9pm.

February 28: Share antcipatory scenes. Characters and conflict. Go over character sheet. Protagonists and antagonists. Discuss great combos in movies and shows and what makes them memorable. Exercise: List 10 possible pairings between two people that could be protagonists and antagonists to each other. Choose one pairing and fill out the character sheet on each one.

ASSIGNMENT #7: Write a scene with setting and dialogue between those two characters, where they are in one location and have opposing wants. Email to class by Thursday, March 5, at 9pm.

March 6: Read and discuss protagonist/antagonist scenes. Set ups and pay offs. Why are thse important and how must they be handled? Give set up and pay off handout, and then assignment.

ASSIGNMENT #8: Write a scene where one character asks someone to meet them, the second character doesn’t know why, and by the end it is revealed. In this scene set up something that is then is paid off. Email to class by Thursday, March 12, at 9pm.

March 13: Share set up and pay off scenes. Structure. From formula to main plot points for a feature, as well as for a scene. Discuss inciting incidents, end of Act One moments, Midpoints, End of Act Two moments, and the Third Act in films they’ve seen. Exercise: Do a basic outline of plotpoints for a possible feature.

ASSIGNMENT #9: Watch the film Hidden Figures over the break, and using the handout given, identify where the plot points occur. We will go over this in class.

***SPRING RECESS, NO CLASS MARCH 20***

March 27: Go over plot point sheet for Hidden Figures. Also discuss the use of set ups and pay offs. Premises, Pitches and Preparing for Final Project. How do we get ideas, how do we pitch? What do executives look for? Go over some pitches and premises. Note that ideas can come from theme, characters, message, plot, setting, conflict, experience, genre, and more. Exercise: Brainstorm 2 ideas for each for a possible short film.Take time and share and discuss with partners. Your final project will be a 20-30 page short script.

ASSIGNMENT #10:

A. Choose 2 ideas and prepare the loglines to pitch to the class.

B. Start reading the 6 short scripts provided to get familiar with short scripts and also to help you in coming up with your final idea.

April 3: Pitching your project. Learn how to give and receive criticism. Pitch the two loglines to the class. For the class- you are the studio excecutive. Would you option or buy this story? Why or why not? Students choose which story they want to write.

Once chosen write up character sheets for the main characters. And write the idea out in the formula. Email character sheets to me by Thursday, April 9, at 9pm.

Assignment #11: Write your outline for the script. What are the main scenes and beats? Email to class by Thursday, April 9th at 9pm.

April 10: Discuss outlines. How can you improve, heighten, add conflicts, twists, setups & pay offs, deepen characters’ internal and external journeys, make the setting and environment more compelling? Work in groups to help and heighten.

Assignment #12: Write the first page of your script to be shared next week. Email to class by Thursday, April 16th at 9pm.

April 17: Share first pages – critiques on opening and if we are hooked. How to improve. Look at first pages of sample screenplays – Wonder Woman, and Milk. Divide class into A’s and B’s.

Assignment #13: Keep writing and be prepared to share the first 5 pages in the next two weeks. Group A will share on April 24. Group B will share on May 1. Group A email pages to class by Thursday, April 23 at 9pm.

April 24: Group A shares their first five pages. Discuss and critique. Look at clips from first 5 minutes of excellent films. Up. What can we see?

Up (long)

Dark knight

Godfather 2 s://watch?v=ubT-Bm36L2U

Mission impossible III

Guardians of the galaxy

Assignment #14: Keep working on script – due May 15. Group B email pages to class by Thursday, April 30 at 9pm.

May 1: Go over Group B’s pages. Discuss common issues and obstacles. In-depth discussion of the movie industry and what’s next? What can they do with short films, or their next ideas? Preparing for 415A, or turning these into features. Go over the business or getting representation, getting into the writers’ guild, contests, competitions, making films themselves. How are writers hired? What a screenwriter’s life is like.

Study Days: May 2-5

Assignment #15: Email your finished script to me no later than Friday, May 15, at 5 pm.

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” policy.usc.edu/scampus-part-b. Other forms of academic dishonesty are equally unacceptable. See additional information in SCampus and university policies on scientific misconduct, policy.usc.edu/scientific-misconduct.

Support Systems:

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

engemannshc.usc.edu/counseling

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

Student Health Leave Coordinator – 213-821-4710

Located in the USC Support and Advocacy office, the Health Leave Coordinator processes requests for health leaves of absence and advocates for students taking such leaves when needed.   



National Suicide Prevention Lifeline - 1 (800) 273-8255 – 24/7 on call



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

engemannshc.usc.edu/rsvp

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

Office of Equity and Diversity (OED) | Title IX - (213) 740-5086

equity.usc.edu, titleix.usc.edu

Information about how to get help or help a survivor of harassment or discrimination, rights of protected classes, reporting options, and additional resources for students, faculty, staff, visitors, and applicants. The university prohibits discrimination or harassment based on the following protected characteristics: race, color, national origin, ancestry, religion, sex, gender, gender identity, gender expression, sexual orientation, age, physical disability, medical condition, mental disability, marital status, pregnancy, veteran status, genetic information, and any other characteristic which may be specified in applicable laws and governmental regulations.

Bias Assessment Response and Support - (213) 740-2421

studentaffairs.usc.edu/bias-assessment-response-support

Avenue to report incidents of bias, hate crimes, and microaggressions for appropriate investigation and response.

The Office of Disability Services and Programs - (213) 740-0776

dsp.usc.edu

Support and accommodations for students with disabilities. Services include assistance in providing readers/notetakers/interpreters, special accommodations for test taking needs, assistance with architectural barriers, assistive technology, and support for individual needs.

USC Support and Advocacy - (213) 821-4710

studentaffairs.usc.edu/ssa

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

Diversity at USC - (213) 740-2101

diversity.usc.edu

Information on events, programs and training, the Provost’s Diversity and Inclusion Council, Diversity Liaisons for each academic school, chronology, participation, and various resources for students.

USC Emergency - UPC: (213) 740-4321, HSC: (323) 442-1000 – 24/7 on call

dps.usc.edu, emergency.usc.edu

Emergency assistance and avenue to report a crime. Latest updates regarding safety, including ways in which instruction will be continued if an officially declared emergency makes travel to campus infeasible.

USC Department of Public Safety - UPC: (213) 740-6000, HSC: (323) 442-120 – 24/7 on call

dps.usc.edu

Non-emergency assistance or information.

Diversity and Inclusion

Diversity and Inclusion are foundational to the SCA community. We are committed to fostering a welcoming and supportive environment where students of all identities and backgrounds can flourish. The classroom should be a space for open discussion of ideas and self- expression; however, SCA will not tolerate verbal or written abuse, threats, harassment, intimidation or violence against person or property. If students are concerned about these matters in the classroom setting they are encouraged to contact their SCA Diversity and Inclusion Liaison, ; e-mail diversity@cinema.usc.edu. You can also report discrimination based on a protected class here

Disruptive Student Behavior:

Behavior that persistently or grossly interferes with classroom activities is considered disruptive behavior and may be subject to disciplinary action. Such behavior inhibits other students' ability to learn and an instructor's ability to teach. A student responsible for disruptive behavior may be required to leave class pending discussion and resolution of the problem and may be reported to the Office of Student Judicial Affairs for disciplinary action.

PLEASE NOTE:

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

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