School of Cinematic Arts



School of Cinematic Arts

Writing Division

CTWR 305: THE RELATIONSHIP SCREENPLAY

Instructor: Anna Waterhouse

Class Schedule: WED 1 p.m. – 3:50 p.m.

Class Location: SCB 101

Office Hours: After class, or by appointment

Contact Information: 626-233-4086 (c) (Between 9 a.m. and 8 p.m.)

usc.relationship@

Bio:

COURSE OBJECTIVE

Relationship is the lynchpin of drama. You can plan natural disasters, explosions, and “end of the world as we know it” scenarios...but if your characters don’t interact in a believable, human way, your film won’t resonate in the way it should.

In this class, we’ll explore the essence of relationships in all their glorious messiness and frustrating contradictions. We’ll use what we already know, or think we know, about ‘the human condition’ (e.g., stereotypes) to propel us into new discoveries about the characters we create, and the story we’re trying to tell.

COURSE DESCRIPTION

In Sunset Boulevard, relationship leads to murder. In Romeo & Juliet, to murder/suicide. It’s the reason Chuck Noland (Tom Hanks) paints a face on a basketball, it’s why Gone Girl is gone, and why the shark in Jaws is not just malevolent but purposefully so.

CTWR 305 has been constructed to explore relationships, and in particular intimate relationships. That could mean lovers, but also relatives, friends, partners, co-workers, and superiors/underlings: any strong, opposing force that propels conflict, and therefore drama. You will choose two (or, at most, three) players whose personality and lifestyle both harmonize and clash.You may have one protagonist around whom the rest revolve, or two to whom you give equal weight. But let’s stay away from ensemble.

Not every character has to ‘grow.’ Some characters create conflict simply because they not only don’t grow, they regress. By not overpopulating your script, you’ll be able to focus on interpersonal dynamics that are less “movie-ish” (e.g., the arc where the character must, perforce, “learn something”) and more true to life...albeit a highlighted sort of life “with the dull bits cut out.”

Once you have your opposing forces, your job becomes both easier and harder. It’s easier because relationships can create big, explosive emotions, and big, explosive emotions keep viewers in their seats. (Even crazily expositional dialogue can be tolerable when emotions rule. Note soap operas, B thrillers/horror and reality shows.)

But it’s also harder because, frankly, seeing clearly through all that fire can be daunting. Action alone can lull us into the false sense that our scripts are working, when in reality they’re simply rushing by.

Though burn-down-the-house emotions in your writing will be permitted and even encouraged, our class time will mostly explore the subtlety of relationships. How does a father tell his son that he loves him, without ever using the word love, or being particularly loving? How does a husband demean a wife without saying anything demeaning? How does a wife lose respect for her husband, even though he did nothing wrong? And how does setting, including weather, seasons and locale, affect character moods and interchanges?

As you explore real reactions and motivations (even in absurd situations), you’ll discover more facets to your characters. These facets, in turn, will lead directly to your next point in the script. Even though this process might be a bit more challenging at first, it will result in a more solid foundation. You don’t want to find yourself somewhere in Act Two, scratching your head and wondering why — in spite of innovative and surprising plot points — the fire is dying.

By focusing on just a handful of characters, we can also get away from the idea that all supporting characters are there to influence, thwart or expedite your lead. A “relationship” is, by nature, a two-way street.

So am I throwing over structure for character? Not at all. Even the most promising relationship will flounder without structure. Though this is to be your second complete script, we’ll go over the basics, and you’ll create an outline that hits all the beats. These basics will follow a fundamental three-act structure, with a 30-60-30 template, complete with inciting incident, reversals, a clear midpoint, and a climax. If you’d rather call an inciting incident the call to adventure, that’s fine. As long as it’s present, you can call it whatever appeals to you.

Finally, I’d like one or two volunteers each week to read 15 pages aloud. It’s a great way to really ‘hear’ the audience as well as the script. Though your colleagues and I have already read them and commented, it’s sometimes surprising how scenes that sort of ‘lie there’ on the page suddenly come to life when read out loud. Conversely, words that work beautifully on the page can lack spark when ‘up on the boards.’ Another advantage to this ‘reading out loud’ thing: you can also choose to read revisions to your old pages.

ASSIGNMENTS AND NOTES

Assignments/pages are due by email 48 hours before class (i.e., Mondays before 1 p.m.) so that you have the weekend to complete your pages, while still giving your colleagues (and me) the opportunity to read your work and comment on it.

Notes for your colleagues are due (to me) 2 hours before class. Length doesn’t matter. I’d prefer cohesion and critical thinking. If you have line notes, by all means, put them in. But please, no line changes/suggestions. If something makes sense to the character but is clunky, simply write ‘restate’ — and we’ll talk about it in class. Don’t be afraid to be critical, but do so kindly and specifically. (Not just “this doesn’t work.”) Also, if you like the way something is progressing, don’t be afraid to say so. It helps us to know what’s working!

Please send me the notes for all your colleagues in a single email, rather than individual emails for each.

(Again, don’t sent your colleagues your notes. At the end of class, I will hand out your notes to everyone involved. Make sure you have an extra copy for yourself so that we can discuss them as a class, as needed.)

All assignments should be in Final Draft, or similar screenwriting software that allows for revisions in red, and with *s at the edge of the page. This is an industry standard.

Please do not send old pages to anyone but me, and only if I request them. That helps us all focus exclusively on the most recent pages. IF a suggested change from the previous week is so radical that the new pages no longer seem to fit with what we’ve already critiqued, just add a few sentences/short paragraph of explanation at the top.

COURSE MATERIALS

We’ll be reading script and play excerpts, sudden (also known as “flash”) fiction, portions of short stories, even song lyrics. Naturally, we’ll be concentrating on ‘relationship’ issues, with less emphasis on explosive drama and more on subtlety.

I’ll also show the occasional short film. Like standup and skits, they tend to utilize clichés and stereotypes to shorthand information to the audience, which is sometimes worthy of note.

Nothing is required reading outside of class, unless you haven’t read the standards of modern screenwriting how-to’s, from Syd Field and Michael Hauge to Robert McKee, Christopher Vogler and Joseph Campbell. (If you haven’t, your work will suffer. So pick two or three and get started.)

Two pieces of reading material that, while not required, I strongly suggest:

• The Anatomy of Story, by John Truby. To be frank, Truby detests the three-act structure (which I adhere to). But what he has to say regarding other players in a protagonist’s life is invaluable. (We’ll cover a bit of it in class, but you might want more in-depth knowledge.)

• The Mastiff, a short story by Joyce Carol Oates. She touches on our objectification of ‘the other’; as well as the age-old battle between men and women for dominance (and submission/protection). This is very helpful as we struggle with societal mores, what they mean, and how we, as writers, can use them to our advantage.

GRADING CRITERIA

Participation: 10%

Critical Analysis/Colleague Scripts 5%

Outline 10%

Meeting Deadlines 10%

Full-length Screenplay 60%

Spelling/Grammar of Final 5%

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100%

You’ll note above that Participation and Critical Analysis are two different units of measurement. Spirited discourse during class counts as Participation. Critical Analysis is your ability to analyze your colleague's work, based on the criteria we’re exploring in class. I also have a separate measurement for spelling and grammar. (This, of course, kills me, as I am not a “Comp Teacher.” But an otherwise good script that is English-challenged would never get past a reader.)

Regarding deadlines, I’m a stickler.

Also, please carefully note the Attendance Policy below, as I adhere to it religiously. This class meets only once per week, so your attendance is crucial.

Per Writing Division policy, the following is a breakdown of numeric 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

As mentioned above, 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 an 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 me prior to class (626-233-4086) or contact the Writing Division at 213-740-3303.

LAPTOP AND CELL PHONE POLICY

I don’t have one. (A policy, I mean.) Do note, though, that if you’re texting/browsing instead of paying attention and/or participating, there goes 10% of your grade. My best advice: do unto others, and be polite. As for your laptop, we might be using it in class to read/share scripts, so if you have one, please bring it.

OFFICE HOURS/CONSULTING

I will be on campus for a few hours before and after class, and will be glad to meet with you — but do contact me by Monday of the same week. (In other words, give me a two-day heads up.) I can be reached by phone or email. Since I spend a great deal of time on my laptop, email’s probably faster than a call or a text.

Contact info is on page 1.

CLASS SCHEDULE

Please note that all dates and assignments are subject to change at my discretion, and based on the needs of the class as a whole.

|Date |Week |Teaching: |

|8/26 |Wk 1 |LECTURE: What makes us want to watch? The fundamentals of being a communal creature, and why that matters |

| | |to our characters. Clips/excerpts as needed, but will likely include Oleanna, Sunday in the Park, Long |

| | |Day’s Journey, I’ll Wait for the Next One. |

| | | |

| | |IN-CLASS WORK: |

| | |1) Divide into teams, first pitch to teammates |

| | |2) Based on feedback, refine and pitch to entire class/instructor |

| | | |

| | |ASSIGNMENT: Continue to refine pitch. Pitch will consist of a one-line and a short (one paragraph) |

| | |synopsis. Turn in by Monday 1 p.m. |

|9/2 |Wk 2 |LECTURE: Reviewing the basics: Script Stages/Sequencing, Three-Act Structure. Inner versus Outer Desire. |

| | | |

| | |IN-CLASS WORK: |

| | |1) Refine the pitch based on notes. |

| | |2) Add Inner/Outer Desire for each lead. |

| | |3) Build a preliminary Character Wheel. |

| | | |

| | |ASSIGNMENTS: |

| | |1) Refine your Character Wheel. Bring to class on Wed 9/9. |

| | |2) Begin Outline: Act One and Act Two, Part 1. Include the following, at a minimum: |

| | |• Ordinary World |

| | |• Inciting Incident |

| | |• Turning Point #1 |

|9/9 |Wk 3 |LECTURE: Environment, Mood....and Theme. The first two change everything, and directly affect the third. |

| | |Clips/excerpts as needed, but will likely include some of these: Shelter, La Strada, Who Am I This Time?, |

| | |A Streetcar Named Desire, The Last Detail, Silver Linings Playbook. |

| | | |

| | |IN-CLASS WORK: |

| | |Take a look at your Outline and find prompts for Environment, Mood, and Theme. |

| | | |

| | |ASSIGNMENT: Continue Outline: Act Two, Part 2, and Act Three. Include, at a minimum: |

| | |• Midpoint |

| | |• Turning Point #2 |

| | |• Climax |

|9/16 |Wk 4 |LECTURE: Dialogue: what do we really need to pay attention to and worry about? Clips/excerpts as needed, |

| | |but will likely include an in-depth “before and after” study of the “orange grove scene” in The Godfather,|

| | |and possibly more Mamet, time permitting. |

| | | |

| | |IN-CLASS WORK: |

| | |You’re not writing dialogue yet: but let’s explore how your characters sound. How do they speak? Where are|

| | |they from? What are they trying to hide/reveal in their way of communicating? |

| | | |

| | |ASSIGNMENT: TURN IN COMPLETED OUTLINE. |

| | |(This is worth ½ your Outline grade.) |

|9/23 |Wk 5 |Lecture: The Protagonist and the Fatal Flaw: Looking to the Greeks for Hamartia and Hubris. Also: Act One,|

| | |with particular emphasis on the Ordinary World, the Inciting Incident/Call to Adventure....in other words,|

| | |the first 10 pages. |

| | | |

| | |IN-CLASS WORK: “Final” outline: what to keep, what to revisit. (And fighting the impulse to start from |

| | |scratch.) Depending on class need/direction, I’ll pick a couple of films that we will watch from beginning|

| | |to end, to help elucidate the discussion. |

| | | |

| | |ASSIGNMENT: Write pp. 1-15 |

|9/30 |Wk 6 |Lecture: Continuing w/ Act One, with particular emphasis on the push to the first Turning Point. |

| | | |

| | |IN-CLASS WORK: Notes on first 15 pp. 1-2 Readers (if time permits). |

| | | |

| | |ASSIGNMENT: Write pp. 16-30 (or complete Act One) |

|10/7 |Wk 7 |Lecture: First 15 of Act Two. Movement, yes...but what kind? (This is a great place to change tone and |

| | |pacing: but how much is too much?) |

| | | |

| | |IN-CLASS WORK: Notes on pp. 16-30. 1-2 Readers (if time permits). |

| | | |

| | |ASSIGNMENT(S): Write pp. 31-45. Revise Outline as needed to match new discoveries in the writing. (This |

| | |part will be ongoing, though you don’t have to turn in the Outline again until the end of the semester.) |

|10/14 |Wk 8 |Lecture: Act Two to the Midpoint: the protagonist and hubris. |

| | | |

| | |IN-CLASS WORK: Turn in Act One for a grade. |

| | |Notes on pp. 31-45. 1-2 Readers (if time permits). |

| | | |

| | |ASSIGNMENT: Write pp. 46-60. |

|10/21 |Wk 9 |Lecture: Midpoint to Major Setback: it’s our job to give our characters maximum pain, to squeeze them like|

| | |coal for the enjoyment of the audience! |

| | | |

| | |IN-CLASS WORK: Notes on pp. 46-60. 1-2 Readers (if time permits). |

| | | |

| | |ASSIGNMENT: Write pp. 61-75. |

|10/28 |Wk 10 |Lecture: Major Setback to End of Act Two Turning Point |

| | | |

| | |IN-CLASS WORK: Notes on pp. 61-75. 1-2 Readers (if time permits). |

| | | |

| | |ASSIGNMENT(S): Write pp. 76-90. (Continue to revise Outline as needed to match new discoveries in the |

| | |writing.) |

|11/4 |Wk 11 |Lecture: Act Three, part 1, where it all comes together (or falls apart), and the “world as we know it” is|

| | |restored. Also....how to ‘rebalance’ your acts if your script ends at the 100-minute mark (or so). |

| | | |

| | |IN-CLASS WORK: Notes on pp. 76-90. 1-2 Readers (if time permits). |

| | | |

| | |ASSIGNMENT: Write pp. 91-105. |

|11/11 |Wk 12 |Lecture: Act Three, part 2, where it all comes together (or falls apart), and the “world as we know it” is|

| | |restored. |

| | | |

| | |IN-CLASS WORK: Turn in Act Two for a grade. |

| | |Notes on pp. 91-105. 1-2 Readers (if time permits). |

| | | |

| | |ASSIGNMENT: Write pp. 106 to end. (If you’ve already finished your script, then begin the polish. Turn in |

| | |revised pp. 1-15.) |

|11/18 |Wk 13 |Lecture: The main trick to a polish...begins with one character. Examples of before/after scripts. |

| | | |

| | |IN-CLASS WORK: Notes on pp. 106 to end/or first 15 pp. 1-2 Readers (if time permits). |

| | | |

| | |ASSIGNMENT: You have three weeks to polish...better get started! |

|11/25 |Wk 14 |HAPPY THANKSGIVING! (NO CLASS) |

| | | |

| | |ASSIGNMENT: Continue your polish. |

| | | |

|12/2 |Wk 15 |Lecture: Symbolism. It’s not as scary or high-falutin’ (or boring) as you think. Plus, it’s been a long |

| | |semester, so let’s have some fun by deconstructing Fatal Attraction. |

| | | |

| | |IN-CLASS WORK: None. |

|12/9 |Wk 16 |15-20 minute one-on-one with instructor. (Optional.) |

|12/18 | |TURN IN FINAL SCRIPT for a grade, plus a REVISED OUTLINE (this is worth 1/2 your Outline grade) no later |

| | |than Friday, 5 p.m. |

| | | |

| | |Your final script counts for 1 grade. Your Outline (draft and revised) is 1 grade. Act One is 1 grade, and|

| | |Act Two is 1 grade. These 4 grades will be divided by four for a numeric FINAL GRADE, which will then be |

| | |converted to a letter grade for your script and outline. These grades will in turn be added to your grades|

| | |for participation, grammar, etc. (Thankfully, my basic math skills are pretty good.) |

| | | |

| | |(Late papers will not be accepted.) |

 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 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, .

Discrimination, sexual assault, and harassment are not tolerated by the university.  You are encouraged to report any incidents to the Office of Equity and Diversity or to the Department of Public Safety .  This is important for the safety whole USC community.  Another member of the university community – such as a friend, classmate, advisor, or faculty member – can help initiate the report, or can initiate the report on behalf of another person.  The Center for Women and Men provides 24/7 confidential support, and the sexual assault resource center webpage sarc@usc.edu describes reporting options and other resources.

SUPPORT SYSTEMS

A number of USC’s schools provide support for students who need help with scholarly writing.  Check with your advisor or program staff to find out more.  Students whose primary language is not English should check with the American Language Institute , which sponsors courses and workshops specifically for international graduate students.  The Office of Disability Services and Programs certification for students with disabilities and helps arrange the relevant accommodations.  If an officially  declared emergency makes travel to campus infeasible, USC Emergency Information provide safety and other updates, including ways in which instruction will be continued by means of blackboard, teleconferencing, and other technology.

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.

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