TELEVSION WRITING & THE DYNAMICS OF THE WRITERS’ ROOM

Instructor – Aurorae Khoo (additional course instructor: Mounah Abdel-Samad)

TFM 596 – Fall 2017 Wednesdays 3:30PM – 6:10 PM, SSW 2501 (and SSW 2532) SYLLABUS

COURSE OBJECTIVES:

This class will teach you how to write a script for an existing television show (“spec” script) and how to create an original television pilot.

The course is part of the Interdisciplinary Collaborative Teaching Exchange program sponsored by Arts Alive SDSU. This class will be integrated with Public Affairs 340 (Administrative Behavior). The two classes will have several joint classes and assignments during the semester. Professor Mounah Abdel-Samad will be instructing you in principles of organizational behavioral management as it pertains to the power dynamics on television writing staffs. Also, the objective of combining these classes is to provide you with new skills, to expose you to a new discipline, and to foster creative thinking. This combination of classes is part of the Arts Alive initiative, which aims at bridging gaps between disciplines. Arts Alive SDSU is a university-wide initiative housed in the College of Professional Studies and Fine Arts and aimed at increasing visibility of and exposure to the arts on campus. Arts Alive SDSU engages a unique assessment process as part of the Collaborative Teaching Exchange program. Arts Alive SDSU assessment strategies will be integrated into the course requirements for this course.

To practice concepts of writing, leadership, and collaboration, you will be pitching your ideas, then forming your own television writing staff, where you will create a concept for an episode, outline the episode, write the script, and then revise it all as a group.

Advanced knowledge of screenwriting concepts such as character creation, dialogue writing, and story structure is expected.

You will also be watching many episodes of various hit television shows.

Your main assignments this semester will be:

--Studying an existing hit television show.

--Pitching an episode concept for that show.

--Outlining an episode as a group.

--Writing an episode as a group, which is how television staffs work. This script will be 30 – 60 pages.

--Working with students from Public Affairs to learn concepts of organizational behavioral management, which you will then implement in your writing “staffs.”

--Take pictures of group exercises with Public Affairs and post on Instagram, as part of the Arts Alive assessment process.

--The class will culminate in a public presentation of your group’s script.

LEARNING OUTCOMES: --Write a television script for an existing television show, which captures the show's tone and voice.

-- Turn concepts of leadership and collaboration into practice with an actual mock writing staff.

--Create and articulate the concept for an original television pilot.

RECOMMENDED READING:

The TV Writer’s Workbook: A Creative Approach to Television Scripts by Ellen Sandler, Delta, 2007.

The Hollywood Standard: The Complete and Authoritative Guide to Script Format and Style, 2nd Edition by Christopher Riley, Michael Wiese Productions, 2009.

REQUIRED READING:

5-6 television scripts (available online or distributed by instructor)

Packet of Organizational Behavioral Management Articles (TBA)

ASSIGNMENTS:

There will be in-class and take-home writing assignments, which will be read and discussed in class. Please have Xerox copies for each member of the class and the instructor, and be sure to keep a copy of everything you turn in.

All writing must be neatly typed and legible. Please be sure to put your name, the name of the assignment, the date, and number your pages.

Always proof your work!!! You will be required to write in standard script format that is PERFECT, and that means no misspellings, typos, or grammatical errors. This standard of excellence is no joke and not to be taken lightly. It is demanded in the professional world. If you want your script to be taken seriously, YOU must make sure its most basic mechanics are flawless.

WARNING: This writing course has a heavy workload. So pace yourself and don’t wait to finish your assignments the night before they’re due. Give yourself ample time to REWRITE and PROOF. Write every day. Again, this is what professional writers do.

All work is expected to be turned in on time. Paper copy to the instructor, not by e-mail. Consistently late work drops a grade. If it is impossible to make a class, find out the assignment from your classmate.

GRADING CRITERIA:

Completion of assignments, creative content, professional presentation and growth during the semester are of great importance. The assignments are cumulative and build upon one another.

Also important is your participation and promptness. That means if you don’t ATTEND CLASS, you deny yourself the opportunity to hear your classmates’ feedback. Even worse, you rob your classmates of your input. The class will be run like a professional “writers’ room.” So there will be constant, interactive discussions with only occasional lectures.

Specifically, your grade will be based on these factors: -- take-home assignments (30%) -- in-class assignments (20%) -- in-class participation, critiques (10%) -- final project: from concept, to outline, to actual script, to rewrite, (to public presentation) (40%). You can’t write the final assignment the weekend before it’s due. Throughout the semester, you will go through the script writing or outline writing process.

If you turn in all your work, if that work is on time, if it is competent, and if you consistently add to our class discussions, then you will earn no less than a “B.” I do not easily or frequently give out “A” grades. This is reserved for students who accomplish all of the above and whose work is of a high quality.

GRADUATE STUDENT GRADING CRITERIA:

Graduate and undergraduates have different grading standards. % weight per assignment is the same. But graduate students' writing is expected to be of higher quality. Also, in addition to writing their final script, they are expected to take a leadership role in their group’s final presentation, which is a filmed excerpt or a staged reading of the group script for an invited audience.

CONSULTATION:

Office hours by appointment Wednesdays 1-3PM, COMM 112, e-mail: [email protected]. Other times to meet are the hours before and after class. If that doesn’t work, we’ll arrange something else.

DISABILITIES STATEMENT:

“If you are a student with a disability and believe you will need accommodations for this class, it is your responsibility to contact Student Disability Services at (619) 594-6473. To avoid any delay in the receipt of your accommodations, you should contact Student Disability Services as soon as possible. Please note that accommodations are not retroactive, and that accommodations based upon disability cannot be provided until you have presented your instructor with an accommodation letter from Student Disability Services. Your cooperation is appreciated.”

CLASS SCHEDULE:

WEEK 1 – (SSW 2501) 8/30/17 --Introductions. Discuss syllabus. Discuss the writers’ room and the workshop method of critique. --Keeping a 3 ring binder for class. --The difference between television scripts and screenplays. --Television script format comedies vs. dramas. --Where do we get ideas from?

--Review of building blocks of a dramatic writing: creating a world, compelling characters, thinking outside of the box, writing from the heart.

--How to break down and analyze a television script.

--In-class writing exercise: meditation on a character. --If there’s time, watch an outstanding television pilot.

ASSIGNMENT: --Watch episodes of an existing hit television show that you’re interested in writing a “spec” script for. --Break down an episode using the format from the TV Writers Workbook. --Get screenwriting software. --Get a 3-ring binder. --Optional: Read Chapter 1, “Organizational Behavioral Management” text and PowerPoint (posted on Blackboard)

WEEK 2 (JOINT CLASS WITH PUBLIC AFFAIRS, SSW 3620) – 9/6/17 --Lecture on what Organizational Behavior is. (45 min.) --Lecture on interpersonal dynamics in a television writers room. (1 hour) --Lecture on television structure: spec scripts vs. original pilots. Dramas vs. comedies. --Meet and greet with your classmates from Public Affairs. Assign groups. (45 min)

ASSIGNMENT: --Break down another episode of a hit television show using the TV Writers Workbook. --Continue watching episodes of that show. Decide which show you want to write for. --Collaboration assignment with your Public Affairs team members. --Optional: Read Chapter 8, “Power & Politics” text and PowerPoint (posted on Blackboard)

WEEK 3 (JOINT CLASS WITH PUBLIC AFFAIRS, SSW 3620) – 9/13/17 --Lecture on power and politics from O.B. perspective (2 hour) --How to pitch your idea for a “spec” script of an existing hit television show. (30 min.) --Announce which shows are being pitched.

ASSIGNMENT: --Prepare to pitch your episode for an existing television show. --Read the “Story Area” handout. --Watch episodes of your classmates’ tv shows. --Practice pitching in front of your Public Affairs team members. Optional.

WEEK 4 (SSW 2501) – 9/20/17 --Pitch your “spec” script episode. --How to write a “story area.”

ASSIGNMENT: --For those yet to present, continue preparing your pitch. --Practice pitching in front of your Public Affairs team members. Optional. --Write a one-page “story area” for the script you want to “spec.” --E-mail three pages of your writing to your classmates, comedy or drama from any existing script and your STORY AREA by this Friday at midnight.

--Read your classmates writing samples and story areas by next class. --Continue watching episodes of existing shows.

WEEK 5 (SSW 2501) – 9/27/17 --Pitch your “spec” script episode. --Go over story areas in class, present paper copies. --Put in requests for which writing staff you want to work on, comedy or drama.

ASSIGNMENT: --Optional: Read Chapter 10, “Working In Groups & Teams” text and PowerPoint (posted on Blackboard)

WEEK 6 (JOINT CLASS WITH PUBLIC AFFAIRS, SSW3620, go to our room SSW 2501 for second half of class) – 10/4/17 --Public Affairs lecture. Working with groups and teams. Marshmallow exercise. (1 hr. 30 min.) --***GUEST SPEAKER, TBA*** How to hire a writing staff? --Reveal showrunners, who choose their second in command and their writing staffs in alphabetical order. --How to write a “beat sheet.” (1 hour)

ASSIGNMENT: --Staffs familiarize yourself with the show you’ve been hired on. --Showrunners turn in their revised story areas to their staffs. --Write a “beat sheet” (brief outline) for your showrunner’s spec script.

WEEK 7 (PUBLIC AFFAIRS OBSERVES. SSW 2501) – 10/11/17 --Model Staff 1 how to break an outline as a group. --Showrunners of staffs 1 and 2 continue breaking your outline as a group.

ASSIGNMENT: --Showrunners meet with your staffs to finish breaking your outline as a group. Assign people to pitch each act to the network. --Optional: Read Chapter 6 “Motivating Others,” text and PowerPoint (posted on Blackboard).

WEEK 8 (JOINT PARTIAL CLASS WITH PUBLIC AFFAIRS, Start in our room SSW 2501, then go to SSW 3620) – 10/18/17 --Staffs 1 and 2 pitch your outlines to the network. (1 hour) --Go over how to write a detailed outline. --Showrunners assign different writers to compose the first draft of the detailed outline and writers to revise the outline. --Public Affairs students present their findings. (45 minutes)

ASSIGNMENT: --Staffs write the detailed outline of their episode. --Showrunner responsible for composing network draft of the outline and meeting the deadline.

WEEK 9 – 10/25/17 --Go over detailed outlines of the episodes. --Staffs meet to revise their outlines. --Showrunners assign writers to write each section of the script.

ASSIGNMENT: --Staffs think about reorganization of your writers’ room. --Write your section of the script and turn it into your staff. --Showrunner and staff begin their pass to unify script. Showrunner responsible for meeting the deadline. --Optional: Read Chapter 11 “Managing Conflict,” text and PowerPoint (posted on Blackboard).

***WEEK 10 – NO CLASS, 11/1/17*** ***individual student meetings for those in need***

WEEK 11 (JOINT PUBLIC AFFAIRS CLASS, SSW 3620) – 11/8/17 --Public Affairs students counsel writers on conflict. (2 OB students to 1 writer) (30 min.) --How do you make your workplace better? How do you make the writers’ room better? (1 hour) --Public Affairs lecture, managing conflict. (1 hour)

ASSIGNMENT: --Showrunners and staff meet to continue to unify script. --Unified script turned into instructor. Showrunner responsible for meeting the deadline.

WEEK 12 (SSW 2501) – 11/15/17 --Showrunners present the drafts of their episode to the class. --Receive short scenes from Public Affairs student partners.

ASSIGNMENT: --Showrunners assign writers to revise script. --Showrunner responsible for final pass. --Graduate students will organize public presentation of the scripts. Also, work with Public Affairs students to film excerpts. --Go over Public Affairs students’ scripts.

***WEEK 13: NO CLASS, THANKSGIVING*** - 11/22/17

WEEK 14 (JOINT PUBLIC AFFAIRS CLASS)(PUBLIC PRESENTATION)(IN LITTLE THEATRE, TBA) – 11/29/17

--Public Affairs students make meme based on themes in the group TV scripts, which are projected during the readings. --Public presentation of your staff’s script, filmed excerpt or staged reading. Coordinated by graduate students. --Audience live feedback with hashtags, under different topics. --Review of how to write an original pilot.

ASSIGNMENT: --Write the story area for your own original pilot.

WEEK 15 (SSW 2501) – 12/6/17 --How would you make your writers’ room better? More productive? --Group work: present the story area for your own original pilot. --***GUEST SPEAKER, TBA***

ASSIGNMENT: --Write the opening 3 pages of your own original pilot. OR write the beat sheet for your own original pilot.

WEEK 16: LAST DAY OF CLASS (SSW 2501) – 12/13/17 --Present opening pages or beat sheet of your own original pilot.

REQUIRED SCREENWRITING SOFTWARE

--Final Draft 9 or 10: The industry standard. Buy it online. You won’t regret it. Watch for coupons and free links on Blackboard.

***It helps if your entire staff is on the same software. If you are all on Final Draft, I can type into your drafts.***

SOURCES FOR TELEPLAYS

--Free scripts www.simplyscripts.com www.script-o-rama.com

--Scripts for purchase www.scriptcity.com

--SDSU’s main library, media collection, has DVD’s and scripts you can look at.

--Writers Guild of America library in Los Angeles.