ADVANCED HALF HOUR TELEVISION COMEDY
CTWR 434
Fall 2014
Thursday 10:00 AM – 12:50 PM
TBA
Instructor--- Bill Steinkellner –
Office Hours--- After class and by appointment.
COURSE GOALS:
Survey and discussion of contemporary half-hour TV comedy and its primary incarnations (family, friends, workplace).
Creating character conflict, the anchor of every successful comedy series. Conflict is comedy.
Choosing and pitching a central and supporting story lines for a spec episode.
Creating a solid story beat sheet.
Preparing a strong episode outline
Writing an effective first draft
Thoughtful analysis and critique of working drafts by professor and peers.
Re-writing and polishing working draft to a professional level
Creating the professional atmosphere of a comedy writing room.
COURSE OBJECTIVE:
Write and re-write a spec episode of a current half hour network comedy series (from a list provided by professor) by the end of the semester. The completed and polished script will serve as the final for the course. It also becomes a viable sample of your work for the industry.
REQUIRED READING:
THE TV WRITER’S WORKBOOK by Ellen Sandler (available on Amazon)
RECOMMENDED READING:
CRAFTY TV WRITING by Alex Epstein
THE ARTIST’S WAY by Julia Cameron
IMPROVISATION FOR THE THEATER by Viola Spolin
CLASS SCHEDULE AND ASSIGNMENTS:
WEEK 1---Introduction--- The spec script: an indispensable sales tool in the
television marketplace. The process of crafting a solid spec from concept through final draft. How to create a story that maximizes the potential of the characters and conflict of an existing comedy series. The importance of plot. The do's and don'ts of pitching.
The “sit com” of your life. Adding improvisational skills to your comedy-writing repertoire. The value of “morning pages.”
ASSIGNMENT:
Prepare two separate ideas for your spec episode (short paragraph each summarizing central and supporting story lines) and two one-sentence concepts as back-up pitches.
Read an assigned sitcom script.
Chart the character relationships and main conflict for class discussion
Write three “morning pages” every day.
WEEK 2----The Pitch--- Discussion of the main conflict of the assigned episode read and its development. Discussion of romantic-comedies, the heart of conflict. Improvisational exercises to aid in pitching and writing on your feet. A class pitch session of spec ideas.
ASSIGNMENT---
Refine and expand the pitch.
Read a sample episode of chosen series.
Read chapters 3 and 4--TV Writers Handbook.
Record three lines of verbatim dialog you hear during your day and the circumstances under which they occurred.
WEEK 3---Working the Story---Continue the pitch process. Studying the storytelling techniques of your chosen series. The commercial reality of telling a story in under twenty minutes. Discussion of ensemble comedy and workplace-driven storytelling.
ASSIGNMENT:
Prepare a beat sheet of your story (Model provided)
Read Chapters 7 and 8--TV Writers Handbook
WEEK 4---Story, Story, Story ---- Establishing and resolving conflict. Following the story to a clear and organic resolution. Overview of A, B, and C plots. Workshopping the beat sheets.
ASSIGNMENT:
Prepare an outline of your story (Model provided.)
Write three morning pages each day. (Optional but recommended.)
(NOTE: Each student is strongly encouraged to make an individual appointment with the instructor to discuss their story in person or on Skype.)
WEEK 5---Story, Story, Story (The Sequel)---Discussion and review of story outlines for character logic and emotional clarity.
ASSIGNMENT:
Refine and polish outlines.
Write teaser (or first 3-5 pages)
Read Chapter 13--TV Writers Handbook
WEEK 6---Time to Write---- Getting your outlines into fighting shape to write. Read teasers.
ASSIGNMENT: Write next five pages of spec (10 pages total)
WEEK 7---Moving Forward, Ever Forward----Deeper character. Avoiding contrivances. Class review and reading work. (Group A)
ASSIGNMENT: Write next five pages of spec. (15 pages total)
WEEK 8----Building the Resolution---Earning a strong ending. Class review and reading work.
ASSIGNMENT: Write next five pages of spec. (20 pages total)
Read Chapter 14--TV Writers Handbook
WEEK 9----Writing is Re-writing----The craft of re-writing in comedy. Heightening motivation and obstacles to protagonist's goal. Continue class review of work.
ASSIGNMENT: Write next five pages of spec (25 pages total)
WEEK 10---What Stays and What Goes---Pace and Rhythm. Comparison of current series First Draft to Final Show Draft. Continue class review of drafts.
ASSIGNMENT: Finish first draft of spec (30-35 pages total)
WEEKS 11--12——The Room or We Get This Joke and We Can Go to Lunch---
The rules of collaboration by committee. Room re-writing on second drafts.
ASSIGMENT: Polish Second Draft
WEEKS 13 - 14 How the Pros Do It—Room reading the first acts of your spec
scripts and note session with two professional comedy producer/writers.
ASSIGNMENT: One solid idea for your next spec script (Both Groups).
WEEK 15---Final Week--Networking the sitcom business---Finding an agent/manager---Creating and maintaining a writing career.
FINAL ASSIGNMENT DUE: Completed Script
GRADING:
On-time attendance, class participation and handing in assignments in a timely, complete manner are mandatory for the workshop process. In an ever-changing creative landscape, personal professionalism is one thing a writer can always depend on.
10% Participation
10% Story Pitches (Pitch in Week 2 and refined Pitch in Week 3)
25% Story Outline
25% First Draft
30% Final Draft
The Final Draft will be evaluated based on the following qualities---
Does it realize the promise of the story outline?
Are the voices of the characters true to the original series?
Is the draft correct in structure and form?
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%
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–>B). A third unexcused absence will result in your grade being lowered another full point (ex: B–>C). 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.
If you have an emergency and must miss class, please contact your professor prior to class or contact the Writing Divisio
LAPTOP POLICY
The use of personal laptops in class is encouraged. Cruising the internet and/or instant messaging while we are in session is not. This goes for use of all electronics (phone, iPad, etc). A warning for the first offense will be followed by a loss of one grade for the second offense.
CLASS MATERIALS
In addition to the assigned readings, suggestions for script readings and DVD viewing will be given on a group and individual basis. It is in the best interests of the class that everyone make themselves familiar with all the series being discussed.
STUDENTS WITH DISABILITIES: Any student requesting academic accommodations based on a disability is required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP. Please be sure that the letter is delivered to the Professor as early in the semester as possible. DSP is located in STU 301 and is open from 8:30 a.m. to 5 p.m., Monday through Friday. The phone number for DSP is (213) 740-0776.
STATEMENT ON ACADEMIC INTEGRITY: USC seeks to maintain an optimal learning environment. General principles of academic honesty include the concept of respect for the intellectual property of others, the expectation that individual work will be submitted unless otherwise allowed by an instructor, and the obligations both to protect one's own academic work from misuse by others as well as to avoid using another's work as one's own. All students are expected to understand and abide by these principles. SCAMPUS, the Student Guidebook, contains the Student Conduct Code in Section 11.00, while the recommended sanctions are located in Appendix A: http://www.usc.edu/dept/publications/SCAMPUS/gov/. Students will be referred to the Office of Student Judicial Affairs and Community Standards for further review, should there be any suspicion of academic dishonesty. The Review process can be found at
http://www.usc.edu/student-affairs/SJACS/.
Emergency Preparedness/Course Continuity in a Crisis
In case of a declared emergency if travel to campus is not feasible, USC executive leadership will announce an electronic way for instructors to teach students in their residence halls or homes using a combination of Blackboard, teleconferencing, and other technologies.
Please activate your course in Blackboard with access to the course syllabus. Whether or not you use Blackboard regularly, these preparations will be crucial in an emergency. USC's Blackboard learning management system and support information is available at HYPERLINK "http://blackboard.usc.edu/" blackboard.usc.edu.
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 fordisruptive 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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