School of Cinematic Arts



School of Cinematic Arts

The John Wells Division of

Writing for Screen and Television

CTWR 415A: ADVANCED WRITING

Spring 2020

Instructor: Beverly Neufeld

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

Class Location: SCA 259

Office Hours: Before or after call, or by appointment

Contact Information: bneufeld@usc.edu

Course Objective:

The objective of this class is to learn how to pitch and develop an idea and then craft that idea into a three-act structure and eventually a feature-length screenplay outline. The outline will not only track the external plot points but also the main characters’ internal arcs and journeys, as well as any and all subplots.

Course Description:

Students will go through a step-by-step process to build their story: logline, summary, character arcs, beat sheet and outline. All assignments will be discussed aloud in class with constructive discussions to follow.

Course Reading:

There are no textbooks for this course. But I recommend Complete Guide to Standard Script Formats by Cole and Haig if you do not know screenplay formatting.

Students should use the industry standard screenwriting software, Final Draft, which has a discount for students. There is also a free screenwriting software program, Celtx, that can be used once we start outlining in February. Outlining with these programs enables you to use the same document to write your script later on.

Students should also have a Netflix, Prime or Hulu account, or a way to watch movies 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.

Reccomended Reading:

“The Writer’s Journey” by Christopher Vogler; “Making A Good Script Great” by

Linda Seger.

Grading Criteria:

Participation: 10%

First 4 assignments (5% each): 20%

External/internal beat sheet: 5%

Act one outline: 5%

Act two outline: 10%

Act three outline: 5%

Opening 5 pages: 5%

Final outline and pages: 40%

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

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 13: What’s in store for the next 15 weeks; introduction of students, their goals, an overview of screenwriting from idea to finished product; learning how to create story, three act structure, discuss loglines, characters, structure, goals, stakes, obstacles and genre. Use formula for activating a story. Add genre.

ASSIGNMENT #1:

A. Watch your favorite movie and analyze character, goal, stakes, obstacles and write a logline for it. Handout provided. Email it to me by Friday January 24, by 9pm.

B. Come up with three ideas for stories you’re interested in writing. Write a logline for each as best as you can. Be ready to pitch these in class, January 27.

***Martin Luther King, Jr. day - NO CLASS JANUARY 20***

January 27: Discuss movies watched. What is the log line? Discussion of character, creating a unique, self-contained story, writing with heart. The kind of stories you like to watch, characters that interest you. Learn how to give and receive criticism. Students pitch their three ideas. You are the studio excecutive. Would you option or buy this story? Why or why not? Students choose which story they want to write.

ASSIGNMENT #2:

A.Write a biography for your protagonist and antagonist (one page each) and email it to me by Friday January 31, by 9pm.

B. Read a feature screenplay of your choice, in the same genre as the one you’re working on and turn in an analysis of the main beats. Email to me by Friday, February 21 at 5pm. (You have time)

February 3: Share about character bio exercise. Go over story structure main plot points and beats. Handout provided. Opening,inciting incident and hook, end of Act One, Midpoint, End of Act Two low point, Act Three, Resolution and ending. Start writing this out for your story.

ASSIGNMENT #3:

Finish main beats for your story. Email to class by Sunday, February 9th at 9pm. Be ready to share these in class, February 10.

February 10: Discuss main beats of the screenplay Share main beats for students’ stories. Discuss character arcs and add those in as well. Track external and internal beats.

***PRESIDENTS’ day - NO CLASS FEBRUARY 17***

ASSIGNMENT #4:

A. Write a first person account of your film from the protagonist’s point of view. Email to me by Friday, February 21 at 5pm.

B. Finish external and internal beat sheets. Email to class by Sunday, February, 23 at 9pm.

February 24: Share the external/internal beat sheets. Discuss and add main subplot beats. Prepare for outline, and how to get from one plot point and arc to another. Divide class into A and B’s.

ASSIGNMENT #5: Write – in screenwriting software - the outline for Act One. Describe what takes place in each scene. Be mindful of what the characters want within the scene and if it’s not clear from the description, make a note of it. (Though you’ll delete this later, it helps when you go to write the dialogue and action, because you’ll already be aware of what each character is trying to accomplish.) Email to class as a PDF by Sunday, March 1 at 9pm. March 2- A’s will share. March 9, B’s.

March 2: Group A shares Act One outlines and receives student feedback. Focus: How to make the opening even stronger. Show opening movie scene clip: TBA. Go over examples from screenplays that will be provided.

ASSIGNMENT #6:

A. Group A revises Act One outlines. Mark changes in red. Start on Act Two.

B. Read First act of the screenplay Love, Simon, instructor provides and be prepared to discuss.

March 9: Discuss first act of Love, Simon. Group B shares Act One outlines and receives student feedback. Focus: Are protagonists driving their own plots by the end of Act One?

ASSIGNMENT #7:

A. Group B revises Act One outlines. Mark changes in red. Continue and do Act Two. Email as a PDF to class by Sunday, March 22 at 9pm. March 23- A’s will share. March 30, B’s.

B. Read second act of Love, Simon, and be prepared to discuss.

***SPRING RECESS, NO CLASS MARCH 16***

March 23: Discuss Act Two of Love, Simon. Group A shares Act One and Two outlines, and receives student feedback. Focus: How to heighten conflict and hit the lowest point by the end of Act Two.

ASSIGNMENT #8: Group A revises Act Two outlines. Mark changes in red. Start on Act Three. Email as a PDF to class by Sunday, April 5, at 9pm. April 6- A’s will share. April 13, B’s.

March 30: Group B shares Act One and Two outlines and receives student feedback. Focus: Is the protagonist changing and growing, throughout the story?

ASSIGNMENT #9:

A. Group B revises Act Two outlines. Mark changes in red. Start on Act Three.

B. Read Third act of Love, Simon and be prepared to discuss.

April 6: Discuss third act of Love, Simon. Group A shares Act Three outlines and receives student feedback. Focus: How does a character finally change and sacrifice in Act Three? How is the protagonist their most active in Act Three?

ASSIGNMENT #10: Write first person account of story from antagonist’s POV. Email to me by Friday, April 10.

April 13: Group B shares Act Three outlines and receives student feedback. Focus: Set ups and pay offs.

Assignment #11:

A. Revise outlines as necessary.

B. Write opening 5 pages. Email to class as a PDF by Sunday, April 19, at 9pm. April 20- B’s will share. April 27, A’s. IT’S SWITCHED! Everyone email scenes to class by Sunday, April 19 at 5pm.

April 20: Group B has class read the scenes out loud and receives student feedback. Focus: Bookends, hooking us, dialogue.

Assignment #12: Polish and refine your outlines and pages. Remove all revision marks.

April 27: Group A has class read the scenes out loud and gets feedback. Focus: In-depth discussion of the movie industry. How do you get an agent? How do studios hire writers? Joining the Writers Guild. How much does a screenwriter earn? What a screenwriter’s life is like.

Assignment #13: Email your finished outline and opening pages to me no later than Monday, May 11, 5 pm.

Study Days: May 2-5

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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