ATEC 3346.501 – Storytelling for New Media Spring '16 Syllabus RM - ATC 1.305

Noah Zisman [email protected] Phone: TBA Office Hours: by appt. Location: ATEC 1.509

COURSE MATERIALS: TEXTS: “The Cambridge Introduction to Narrative – 2nd Edition” – H. Porter Abbott “Crafting Short Screenplays That Connect” – Claudia Hunter Johnson

SOFTWARE: The scripts you will write in this course require special formatting. I will require you to use software to streamline this process. I recommend the free online app Writerduet (https://writerduet.com/). Final Draft is the industry standard. However, it is too expensive to require for this course. If you are committed to screenwriting, and have money lying around, you may consider this option.

There are several other acceptable programs including these free ones: Writer’s Duet: https://writerduet.com/ Celtx: http://celtx.com/index.html Adobe’s Story: https://story.adobe.com/en-us/index.html *The free ones require you to sign up with an email.

Please Note: If you do get Final Draft, you do not need Final Draft AV. Also, if you find some other software, please check with the instructor before using.

Course Description: The primary objective of this course is to learn what narrative is and how it may be applied to interactive and other kinds of media. We will learn the basics of modern narrative as it applies to film and story. We will examine the relationship between plot and interactivity then apply the principles learned to a final interactive project.

Assignments and Readings: All readings, other than your textbook, and assignments will be posted online. If you have questions contact the professor for clarification.

No late work will be accepted. Each assignment should be properly formatted and error-free. Work needs to be in on time to ensure that the class has enough time to read it.

ATTENDANCE: We have a lot to cover in this course – if you miss a single class (or are late to class) you’ll miss something of great value. If absent or late, you are responsible for what was covered in class, including assignments: please contact two fellow students before resorting to the instructor.

You are expected to attend all lectures. Life happens sometimes, so you are allowed two absences. On the third absence you will receive one letter grade off. After a forth, I recommend dropping the course. Contact the instructor if you have circumstances preventing you from attending. After the fact excuses are not admissible.

Last note on absences – the workshop is integral to absorbing the material in this class. If you miss too many classes you won’t be experiencing the main pedagogical tool of this course. It’s not fair to you, the class, or your instructor to exempt you from that part of the process. If you miss your workshop you will only receive 25% of your assignment grade.

RULES OF CRITICISM:  Don't hold back. If something has problems, it has problems. Say so. However...  Negative comments are a lot easier to make than positive ones. So, no matter how constructive your criticism is, try to match it with a compliment somewhere else.  Identifying problems isn't enough -- also identify possible solutions. Don't simply say that a character or a scene doesn't work for you. Say why it doesn't, then tell us what changes to the character or scene would make it work for you.  With regard to criticism of your own work: start developing a thick skin. Remember that your instructors and classmates are commenting on your scripts, not on you. Use their criticism to become a better writer.

Student Learning Objectives/Outcomes To succeed in this class, you will:  Recognize and analyze the defining characteristics of narrative  Understand and apply narrative theory from both creative and rhetorical perspectives  Explore the potential for storytelling in a variety of new media platforms  Demonstrate a mastery of key narrative concepts and terminology  Comprehend storytelling strategies in both linear and nonlinear forms  Employ interdisciplinary storytelling techniques, individually and collaboratively  Perform as a professional to meet deadlines and submit quality work

Comet Creed This creed was voted on by the UT Dallas student body in 2014. It is a standard that Comets choose to live by and encourage others to do the same:

“As a Comet, I pledge honesty, integrity, and service in all that I do.”

UT Dallas Syllabus Policies and Procedures

The information contained in the following link constitutes the University’s policies and procedures segment of the course syllabus.

Please go to http://go.utdallas.edu/syllabus-policies for these policies.

The descriptions and timelines contained in this syllabus are subject to change at the discretion of the Professor.

GRADING: In evaluating your work, I try to assess what’s been learned and if it’s reflected in your writing, i.e.: have you demonstrated an understanding of the dramatic concepts discussed in class, and is that understanding reflected in your own creative work? Your final grade will reflect the quality and sincerity of your efforts in this class.

Equally important is the level and quality of participation in class, as reflected by contribution to workshop.

There will be no tests or final exam. Grades will be determined on a 100-point scale:

Assignment Percentage of Total Grade Decision Script 10 Boxing Match 10 Twine Project: Subtext 10 Final Twine 10 Response Sheets 15 Feedback Sheets 10 Participation 10 Other Script Assignments 12 Other Twine Assignments 13

SYLLABUS This syllabus is subject to change. 1 24-Aug Intro Storytelling – new sections Drama as Moments of Change Formatting and Why It Matters Response Sheets 2 31-Aug The Writer’s Values Aristotle Poetics and 3-Act Structure The Discovery Script – In Class Assignment The Decision Script Workshop: Formatting Exercise Due:  Formatting Exercise *  Read Trottier – Formatting**  CIN (Cambridge Introduction to Narrative): Chp. 1-2, 5  Response sheet * All written assignments must be posted in eLearning under the appropriate discussion section. Questions should be directed at me before deadlines. **All reading not in books will be posted in eLearning. 3 7-Sep The Power of Emotion Due:  Johnson: Intro, Chp. 1-3, Chp. 5, 9  Response sheet 4 14-Sep Workshop: The Decision Script Group 1 The Boxing Script Due:  Decision Script  Johnson: Chp. 10  Response sheet 5 21-Sep Workshop: The Decision Script Group 2 Connecting to Character Due:  CIN: Chp. 6, 7  Johnson: Chp. 6  Response sheet 6 28-Sep Workshop: The Decision Script Group 3 Rewrite Discuss People Watching Groups DUE:  People Watching  Boxing Prewriting  CIN: Chp. 3  Johnson: Chp. 7  Response sheet 7 5-Oct Structure Introduction to Interactive Fiction (IF) Intro to Twine Twine Project: Simple Twine Dialogue DUE:  Prewrite Feedback  CIN: Chp. 4, 8  Johnson: 7, 8  Response sheet 8 12-Oct Branching Narratives Workshop: Boxing Script Group 1 Due:  The Boxing Script  Response sheet 9 19-Oct Workshop: Boxing Script Group 2 Twine Variables Due:  Rewrite Decision Script  Twine Project: Simple Twine  Play Twine games (TBA)  Variables and Conditionals Tutorials 10 26-Oct Subtext Twine Project: Subtext Groups: Feedback on Rewrites Workshop: Boxing Script Group 3 DUE:  Group Feedback On Rewrite  Twine Variable Assignment  CIN: Chp. 9  Response sheet 11 2-Nov Make Up Day DUE:  Twine Project: Subtext 12 9-Nov Workshop: Twine Subtext Group 1 Final Twine Project Due:  Variables Twine Project 2  Play Group 1’s Twine Game  Feedback Sheet  CIN: 10, 11, 12  Response sheet 13 16-Nov Workshop: Twine Subtext Group 2 Creating a space Due:  Play Group 2’s Twine Game  Final Twine 14 23-Nov Workshop: Final Twine Group 1 Due:  CIN: 13, 14  Play Group 3’s Twine Game  Play Group 1 Final Twine  Feedback Sheet  Response Sheet 15 30-Nov Fall Break 16 7-Dec Art and Narrative Workshop: Final Twine Group 2 Due:  Play Group 2 Final Twine  Feedback Sheet 14-Dec Due: Twine Rewrite