Communications 348 - SCRIPTWRITING

Daniel Boyd

Office: B 234 Phone: 766-3379 E-mail: dboyd@mail.wvsc.edu

Office hours: Monday & Wednesday 10:00 – 1:00

Tuesday 10:00 – 2:30 ..... and by appointment

Daniel Boyd Office: B 234 Phone: 766-3379 E-mail: dboyd@oscar.wvsc.edu
www.danielboyd.com
Office hours: M & W: 10:00 – 1:00 T & TH 12:30 – 2:30 And by appointment

Text: SCREENPLAY: THE FOUNDATIONS OF SCREENWRITING, Syd Field
Resources: http://pfi.wvsc.edu Go to resources. Scripts are on reserve at the main desk, WCSC library. Books, in the PFI collection, IMC (library ground floor)

Recommend equipment/supplies: Access to a word processor, screenwriting software.

Course Description:

This course is designed as a theoretical as well as practical approach to learning the art and craft of screenwriting. Students will study exemplary film through existing screenplays (on reserve), watch and analyze appropriate film works, find the commonalties of traditional writing styles/techniques as they relate to screenwriting, while learning the specific technical aspects of writing for the screen.

Expanded Description: The procedures involved in writing scripts for factual films will be covered but the emphasis will be on the narrative film. With the globalization of the film and television industries, we must also explore the art/craft of screenwriting outside of our borders. The course will include an international perspective, looking at the dynamic styles that differ from the classic Hollywood script paradigm. Students will generate an original idea to be developed through the several stages of the script process (concept, treatment, character biographies, scene outline), culminating with a finished minimum 50 page three-act screenplay by the end of the semester.

Learning Outcomes:

After completing the course students will be able:

1) To understand the role of the writer in motion picture creation.
2) To identify and differentiate between writing for personal artistic expression (the Auteur) and contractual screenwriting.
3) To analyze and apply the principles employed in visual writing.
4) To be able to analyze and apply the principles of dramatic writing.
5) To lay out a script adhering to current professional practice.
6) To develop a short-feature screenplay to final draft through ‘concept’, treatment, scene outline, and first and final draft stages.
7) To know the basic legal and business aspects of commercial screenwriting.

Expectations:

1) Attendance and participation in all activities is mandatory.
Unexcused absences (2) and/or excessive tardiness (4) will have a negative affect on your final grade.
2) Students will be expected to do the work assigned when it is assigned. If accepted,
late work will be graded down.
3) ALL WORK MUST BE TYPED!

Requirements:

1) Reserve script breakdown, scene outline, treatment, character biographies (relating to final Project/script), and as part of weekly assignments.
2) A three act short-feature screenplay to be no less than 50 pages.
1st Act (minimum 15 pgs.) - Feb. 18
2nd Act (minimum 20 pgs.) - April 3
3rd Act (minimum 15 pgs.) - May 6
Evaluation:
The final grade will be based on:
Attendance/participation - 20%
Assignments/feature script - 80%

PARTICIPATION
Class participation in this course: Class attendance is required and students are encouraged to contribute to class discussion. Participation is the key to a lively class. Class participation provides the opportunity to practice speaking and persuasive skills, as well as the ability to listen. Comments that are vague, repetitive, unrelated to the current topic, disrespectful of others, or without sufficient foundation will be evaluated negatively. What matters is the quality of one's contributions to the class discussion, not the number of times one speaks.

Guidelines for Evaluating Participation

Outstanding Contributor: Contributions in class reflect exceptional preparation. Ideas offered are always substantive, provide one or more major insights as well as direction for the class. Challenges are well substantiated and persuasively presented. If this person were not a member of the class, the quality of discussion would be diminished markedly.

Good Contributor: Contributions in class reflect thorough preparation. Ideas offered are usually substantive, provide good insights and sometimes direction for the class. Challenges are well substantiated and often persuasive. If this person were not a member of the class, the quality of discussion would be diminished.

Adequate Contributor: Contributions in class reflect satisfactory preparation. Ideas offered are sometimes substantive, provide generally useful insights but seldom offer a new direction for the discussion. Challenges are sometimes presented, fairly well substantiated, and are sometimes persuasive. If this person were not a member of the class, the quality of discussion would be diminished somewhat.

Non-Participant: This person says little or nothing in class. Hence, there is not an adequate basis for evaluation. If this person were not a member of the class, the quality of discussion would not be changed.

Unsatisfactory Contributor: Contributions in class reflect inadequate preparation. Ideas offered are seldom substantive, provide few if any insights and never a constructive direction for the class. Integrative comments and effective challenges are absent. If this person were not a member of the class, valuable airtime would be saved.

Assignment schedule:

Week 1: Introduction: Review of syllabi and course requirements, understanding basic screenwriting realities.

Week 2: Three (3) original ‘concepts’ for final script consideration due. Topic: “Completeness” of story.

Week 3: Act breakdown of a published screenplay (on reserve) due. Topic: The Three-Act drama.

Week 4: Final ‘concept’ chosen. Character biographies. Topic: Creating “character.”

Week 5: Act I scene outline due. Topic: Environment: “Location” as character.

Week 6: Act I due (minimum 15 pages). Topic: “Genre” screenwiting considerations.

Week 7: Act II scene outline. Topic: The adaptation: The novel and theater as model.

Week 8: Topic: Screenwriter as auteur vs. work for hire.

Week 9: Topic: Screenwriter as entertainer vs. change-agent.

Week 10: Act II due (minimum 20 pages). Topic: Political considerations. Screenwriter as Nationalist.

Week 11: Topic: “Follow the money”: The influence of money on the art of screenwriting.

Week 12: Act III scene outline. Topic: The business of screenwriting.

Week 14: Act III due (minimum 15 pages). Topic: The search for new forms.

Week 16: Final revision due.