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377575: Seasonal-Arc Structure for TV > Syllabus | Concourse 377575: Seasonal-Arc Structure for TV SCRIPT-X 425.5 Winter 2021 Section 1 3 Credits 01/09/2021 to 03/13/2021 Modified 02/05/2021 Meeting Times Remote Instruction: Saturdays 2:00-5:00 pm (PST) Starting 1/9/21, Ending 3/13/21 Description Television storytelling is undergoing significant shifts in the early twenty-first century, but the basics of structuring satisfying narratives are rooted in human psychology and are timeless. This vigorous ten-week course exposes and explores the underpinnings of classic cinematic story arcs in six current, serialized shows (titles subject to change). At the same time, each student methodically practices the foundational, industry-standard skills required to create a high-quality series by developing characters and narrative arcs for an original TV show in their own unique voice. Objectives During this course, you will: Gain a conceptual understanding of classic cinematic story structure and apply it to TV seasonal-arcs, including building their own original series concept Become familiar with the evolution of TV narrative styles, from 1948 to the present Discern narrative drivers (i.e., theme, POV); craft clear, compelling expressions of them Deconstruct single seasons of serialized story arcs currently on TV Draft, re-write and polish industry-standard TV series-development and sales tools Acquire confidence through a consciously respectful, creative learning environment Outcomes By the end of this course, you should be able to: Create functional cinematic story structures for TV using the Syd Field Paradigm Compare and contrast historical TV narrative styles with current programming Write clear, concise and practical expressions of industry-standard storytelling and series-development tools Develop and deliver a substantive portion of a viable TV series bible Appraise creative material in a respectful manner; recognize and reject non-respectful situations 1 of 11 Materials Required books, software, etc.: Screenplay: The Foundations of Screenwriting by Syd Field A basic subscription to the Hulu streaming service Optional books (any edition, these are classics for common reference): The Screenwriter’s Workbook by Syd Field The Writer's Journey by Christopher Vogler The Art of Dramatic Writing by Lajos Egri Characters & Viewpoint by Orson Scott Card Creating Great Characters by Linda Seger Evaluation 1. Take this course on a graded, pass/fail or ungraded basis. 2. Grades will be determined on submission of completed assignments, whether the written expression reveals a basic understanding and practical usage of each skill, as well as the clarity and concision of each written expression (over-long assignments will be returned for timely editing without being read). 3. The instructor’s personal preferences on content choices (such as genre) will not affect grading: completion, competence and/or excellence of the skill-set being offered is all that will be assessed. In other words, can the student achieve transfer of information from their own head into others’ without undue confusion or ambiguity while using only written words? 4. Feel free to get ahead on assignments, but don’t expect grades until a week after the due date for each item has passed. There will be 105 assigned items in this course, given the proposed viewing schedule. Each delivered item will be quite short, with none being longer than a page, per the Formatting Guidelines (See Course Policies/Workshopping Guidelines Heading) Examples of assignments include log-lines, tone essays and brief episode summaries, with their grades assessed as 0, 1 or 2: 0 = not submitted and/or incomplete/overlong/unfocused/unclear 1 = basic competence of required skill in written form submitted 2 = excellence in required skill in written form submitted Given the brevity of every assignment, if you'd like to edit/re-write any item for a higher assessment, please do. But I'll only accept one re-write/edit for each assignment at a time. I'll also be available for office hours once a week to give individualized assistance. If we discover the amount of required viewing is overly ambitious, time-wise, we'll cut back on series/hours and adjust assignments and grading accordingly. Criteria Graded Activities Possible Points Notes Week 1 -- No graded items. Homework assigned 2 of 11 Graded Activities Possible Points Notes Week 2 0-28 14 items (1 in-class + 13 homework from Week 1) Week 3 0-16 8 items (1 in-class + 7 homework from Week 2) Week 4 0-14 7 items (1 in-class + 6 homework from Week 3) Week 5 0-32 16 items (1 in-class + 15 homework from Week 4) Week 6 0-20 10 items (1 in-class + 9 homework from Week 5) Week 7 0-16 8 items (1 in-class + 7 homework from Week 6) Week 8 0-32 16 items (1 in-class + 15 homework from Week 7) Week 9 0-28 14 items (1 in-class + 13 homework from Week 8) Week 10 0-24 12 items (homework from Week 9) TOTAL 210 Breakdown Grade Range A 180-210 B 150-179 C 120-149 D 105-119 F 104 & below Course Policies Every week we’ll meet on a Zoom call, and take a deep dive into how serialized TV stories are built, mostly focusing on seasonal- arcs for this course. You’ll learn some basic skills for both analyzing existing episodes and crafting new ones. We’ll start fairly simple, and practice each skill by applying them to different series, then add more complex skills, repeating the same basic exercises with varied content. By the end, if you’ve done all the work, at the very least you will likely have acquired – through repetition alone – a functional knowledge of industry-standard story-structure. You’ll be required to watch between four and seven hours of assigned television each week in order to complete the homework and fully understand the in-class exercises (totaling about 45 hours over 10 weeks). All of the series being analyzed are available for viewing with a basic Hulu subscription (titles subject to change). If we discover this is overly amibitious, time-wise, we’ll cut back on series/hours and adjust assigned items & grading accordingly. With an emphasis on finding and clearly expressing your own unique voice, you’ll also craft the beginnings of an original, narrative TV series bible. To that end, we’ll practice sharing our writing in class, giving and receiving thoughtful notes designed to 3 of 11 help each writer advance their own vision, rather than impose what we’d do if this was our project. Respectful support, not inflictions of personal preference, is key to this style of working. It’s a win-win approach; requiring everyone involved to be mindful of healthy boundaries, which the instructor will model and maintain. If you love TV, this is an opportunity to see how the storytelling really works! Due dates are posted with each assignment. Remember, you'll be sharing your work in class, so it's important that you submit it to me through Canvas. If necessary, I will likely be willing to receive your work via e-mail as well. Make sure to send .pdfs, not changeable document files. All assignments are viewable on the Course Syllabus. Feel free to get ahead, but don't expect to receive a grade until after the week(s) that series will be covered in our Zoom class. Formatting Guidelines: Typed, single-spaced, 12-point font (preferably Times New Roman), including your name and the date you wrote/submitted it. If you attach a file for your submission, make sure it's a .pdf. I won't read changeable document files, such as Word. Every assignment will have a length limit, no longer than a single page, with most far shorter. The final assignment, compiling much previous work, will be counted as only one item, since each of the smaller pieces will already have been assessed. Institutional Policies Student Conduct Students are subject to disciplinary action for several types of misconduct or attempted misconduct, including but not limited to dishonesty, such as cheating, multiple submission, plagiarism, or knowingly furnishing false information to the University; or theft or misuse of the intellectual property of others or violation of others' copyrights. Students are encouraged to familiarize themselves with policy provisions which proscribe these and other forms of misconduct at: https://www.uclaextension.edu/pages/str/studentConduct.jsp (https://www.uclaextension.edu/pages/str/studentConduct.jsp) Services for Students with Disabilities In accordance with the Americans with Disabilities Act of 1990, UCLA Extension provides appropriate accommodations and support services to qualified applicants and students with disabilities. These include, but are not limited to, auxiliary aids/services such as sign language interpreters, assistive listening devices for hearing-impaired individuals, extended time for and proctoring of exams, and registration assistance. Accommodations and types of support services vary and are specifically designed to meet the disability-related needs of each student based on current, verifiable medical documentation. Arrangements for auxiliary aids/services are available only through UCLA Extension’s Service for Students with Disabilities Office at (310) 825-7851 or by email at [email protected]. For complete information see: https://www.uclaextension.edu/pages/str/studentswithDisabilities.jsp (https://www.uclaextension.edu/pages/str/studentswithDisabilities.jsp) Incompletes Your instructor may post the interim grade Incomplete/I if at the end of the class your overall work is of passing quality but a portion could not be submitted for understandable reasons (e.g. illness). It is your responsibility to petition your instructor for permission to submit work late and to provide an explanation, and it is his or her sole decision whether to accept the explanation.
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