505 WEBER SYLLABUS1.
CTWR 505 –CREATING THE SHORT SCRIIPT – SPRING 2017
Section: 19280D
Tuesday, 9-11:50 AM SCB 304
INSTRUCTOR – DAVID WEBER
(323) 394-0152
COURSE GOALS:
- To acquire a personal, professional style of writing in the screenplay format.
- To learn to write from a visual and aural perspective.
- To understand the structure and economy of effective narrative screenwriting.
- To develop a fundamental understanding of the dramatic scene.
- To learn to write the short script.
- To understand the importance of rewriting.
PLAN:
This is an intensive introductory course where you will learn to develop your imagination and put compelling cinematic narratives on the page.
The class will take place in a workshop setting. Together we will read and critique a series of weekly assignments, both non-dialogue and dialogue, designed to help you understand the fundamentals of screenwriting, concentrating on the major building block of any dramatic work, the scene. You will learn to bring your visual and aural senses to your writing, to see and hear your film as you write it, while at the same time you discover the importance of character as it is explored through situations of conflict. At the end of the class you will apply your skills to twoshort, fully realized, 5-page screenplay for your 310 class.
Screenwriting format is not an exact science; within accepted parameters, you should develop a format style that you find both comfortable and expressive. To this end you will read as many professional screenplays as possible, reporting to the class on one of them (and some other fun stuff). By the third session I expect your assignments to be written in a professional format. Assignments not meeting that standard will be returned unread.
E-mail assignmentsor post on Googledrive by 8 p.m. the night before they are due!
CLASS SCHEDULE (SUBJECT TO CHANGE):
SESSION 1: Introduction; elements of screenwriting.
Topic: Mood and atmosphere – elements of mise en scène.
In-class assignment: Describe a location using visuals and sound to create mood/anticipation before the character enters (using the elements we just discussed in class).
1.Make the audience feel that something romantic is about to take place.
2.Make the audience feel that something frightening or violent is about to take place.
3.Make the audience feel that something funny is about to take place.
Scenes should be less than one page – the scene ends when the character enters the location.
SESSION 2: Topic:Props, Location, Character
Describe, in essay form, the following childhood memories:
- Your favorite toy
- A secret place you used to go.
- The most frightening person you encountered.
Write in prose – give as many details, especially the feelings and moods that came with them. Don’t worry about going too long!
SESSION 3: Topic: Preparation and Aftermath, Ellipsis
These scenes help you learn how to build audience engagement and expectations, as well as create reversals, twists, and resolution.
You will learn to tell your story through the use of props, costume, and location as well as developing an understand of activity for the character as opposed to dramatic action. You also learn the concept of ellipsis (leaving out stuff so the audience has to figure out what happened).
SESSION 4:Topic: The story that happens off screen.
Write two scenes of “indirection.”
Hear but can’t see: A character is passing through a location, pursuing some kind of agenda (could be as simple as going to work), when he HEARS something off-screen. He tries to ignore it but finally can’t, goes to intervene. When he discovers the source of the sound, it’s not what he or we thought (twist).
See but can’t hear: A character is passing through a location when he sees something (through a window, a shadow, etc.) He tries to ignore it but finally can’t, goes to intervene, etc.
SESSION 5:Topic: Emotional content of story, characters’ inner life.
Write two essays describing: Your moment of greatest terror or shame. Your moment of greatest pride or joy.
Don’t overthink it – just plug into your memories and write!
SESSION 6:Topic: Structure of dramatic scenes.
For next class, write two scenes using dialogue (as sparingly as possible!):
1. “Wrong arrival:”A character is waiting for someone. Someone else shows up instead, the exact wrong person (i.e. a husband, when a woman is waiting for her secret lover). The first character has to get rid of the second, before the third character arrives – without letting them know that is what they are doing!
2. “Seduction scene (choose one): The subject is willing but the circumstances are wrong, The subject unwilling but the circumstances are right. Note: the seduction can be about anything the first character is trying to get out of the other, i.e. a salesman trying to make the sale, a haircutter trying to get a customer to try a new style, someone trying to get someone else to sleep with them (the classic).
SESSION 7:Topic: Structure of dramatic scenes; quid pro quo.
Write an “interrogation scene.” One character has commited a “crime” (or has done something they think is wrong) and is being interrogated by someone in authority, but the interrogator thinks the other character has committed a different crime. How long can you stretch the tension/confusion. What happens when the character being interrogated realizes he/she is being accused of the wrong crime? (“Moment of recognition.”)
SESSION 8:Topic: From the page to the screen.
Discussion of P1 and P2 projects; the experience of directing them into films. What went wrong? Were there any discoveries while working on the project (either filming or editing) that made the story better?
SESSION 9:Topic: Finding your screenwriting “voice.”
Fan fiction: Choose a produced screenplay from the last 10 years (subject to my approval). Watch the film again and read the script, paying special attention to the way it was written (format and style – what was on the page that reached the screen? Find a place in the middle of the script and continue the story in a different direction, using the original characters and mimicking the writer’s style, for three or four scenes (2-5 pages).
SESSION 10:Topic: Stories for short films.
View student films from previous classes, discuss.
Discussion of three-act structure and story patterns.
SESSION 11-14:Topic: Short scripts.
Write two (5-page) script for 508 production.
SESSION 15:Class review.
Review screenwriting concepts, final discussion of short scripts. Plans for continuing on to greatness!
Final drafts of short scripts due April 30.
READING:
In addition to screenplays, suggested reading for this class is:
"The Tools of Screenwriting" by David Howard (especially pages 1-39)
“Writing is Rewriting” by jack Epps
Various hand-outs
GRADING:
Your grade will be based upon fulfillment of the weekly scene-writing assignments (40%), story outline assignments (20%), the quality of your final short screenplay (30%), and your participation in class (10%).
Attendance is mandatory. You are expected to be class on time. The policy of the Writing Division is that two absences will result in a lowering of your grade one full point, a third absence another point. Two late arrivals are treated as one absence.
COMPUTER USE:
Lap-tops may be used in class (for class-related business only!), but script material should be printed and given to me at the end of class.
OFFICE HOURS:
By appointment.
Students with Disabilities:
Any student requesting academic accommodations based on disability is required to register with Disability Services Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP; please be sure this letter is delivered to me as early in the semester as possible. DSP is located in STU 301 and is open 8:30 a.m. – 5:00 p.m., Monday through Friday. Telephone is (213) 740-0776.
Statement on Academic Conduct and Support Systems
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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 forms of academic dishonesty are equally unacceptable. See additional information in SCampus and university policies on scientific misconduct,
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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 will 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 orgrossly interferes with classroomactivities is considered disruptive behavior and may be subject todisciplinary action. Such behaviorinhibits other students’ ability tolearn and an instructor’s ability toteach. A student responsible fordisruptive behavior may berequired to leave class pendingdiscussion and resolution of theproblem and may be reported tothe Office of Student Judicial Affairsfor disciplinary action.