RTF w348: The Working Hollywood Writer 1

CRAFTING STORIES FOR THE SCREEN4 Fun THE SYLLABUS! profit& SUMMER 2016: THURSDAY 7 – 10pm UTLA OFFICES: MAIN CLASSROOM (#103)

INSTRUCTOR: BRIAN DAVIDSON OFFICE HOURS: BOOKENDING CLASS HOURS—BEFORE (6-7p) & AFTER (10-11p) CONTACT: e: [email protected] c: 818-395-8168

REQUIRED COURSE MATERIALS

£ SCREENWRITING SOFTWARE…dealer’s choice, though limited to the following titles: < FINAL DRAFT < MM SCREENWRITER < HIGHLAND < FADE IN < SLUGLINE < CELTX £ VARIOUS READINGS…provided by instructor (see COURSE ASSIGNMENTS) £ ABILITY TO PLAY WELL W/ OTHERS… £ PASSION & DRIVE…to tell stories & work your a-- off to learn how £ CLOTHING…do not test me on this one £ COMMITMENT & VIGOR…to your assignments and fellow students £ A CAPTIVATING & UNIQUE FACT…to share in EVERY CLASS, which I will call for at random

COURSE PHILOSOPHY “First learn to be a craftsman; it won’t keep you from being a genius.” — Delacroix Have fun & Make money—just like it says up top! Well, we won’t be making any money (though what you learn could lead to a few extra bucks in the glovebox of that Tesla X you’ll buy with all the i.p. you’re going to sell), but we’ll definitely have fun—cause nothing’s more fun than staring at an empty script page until our forehead bleeds. Which is how a wise sage once described writing. So make sure you have tissue, because you’re going to be wiping your forehead a lot2— Because it all starts with a blank page…and the Story you write across it. We’ll push beyond the traditional approach to screenwriting (usually more analytical or outside-in) and come at it from the inside-out—from the perspective of how a Storyteller thinks…how they must think. Beginning writers often think its their ideas which define their talent—it’s true ideas have value in the marketplace—but crafting a successful screen story is less about what it is and more about how you tell it.

1 of any size, medium, or format…for the rules of narrative apply equally to Vine videos, Marvel blockbusters, and mimes 2 I’ll be doing the same right along with you…as my agent wants me to finish a new pilot yesterday 2 of 11 Crafting a Story is akin to making furniture. You might have a great idea for a new chair, but if you don’t know how to cut a tongue & groove joint, no one’s going to be able to sit in it. A good idea can be made bad with poor execution, just as a mediocre one can be made great with a well-executed saw. How well a writer wields their tools is what separates the Aaron Sorkins from the Tommy Wiseaus3. Whether you’re a Writer, Producer, Director, Actor, Development Exec, the secret to success is understanding your craft and mastering this invisible science. Yes, it is a science—though alchemy might be a better term—because producing a successful Story is never accidental. Certain laws must be obeyed for a Story to work. These laws are as old as we are…rising out of the same primordial soup our flesh and souls were hewn from. I believe Story is the original language of mankind…before the Tower of Babel built the walls of many tongues which separate us today…no matter the culture or the era, the grammar of this universal tongue remains the same. As powerful today as when the first human, after listening to their companion’s tale, asked “uga…wacta ragutoo baba?”4 Ever since, those seeking to become Storytellers must join an ancient priesthood, revealing their secrets only to those willing to sacrifice what they hold dear—their own Story. It’s in the job description—we craft a STORY not for ourselves, but for the purpose of TELLING it to someone else. If we don’t tell a Story so the audience can understand…if it can’t pierce their heart…move their spirit…if they aren’t changed in some small way…then we have failed. Now, don’t confuse this with pandering or writing to what the audience wants. In fact, never give them what they want…or at the very least, torture the hell out of them before you do. You must write your Story FOR the audience in the same way a hunter prepares a trap FOR their prey. A Storyteller is more con(wo)man than pure artist—harnessing the rules of diversion and emotional manipulation to make your audience experience what we want them to. Do it right, they’ll never know you have them dancing at the end of your puppet strings (though, honestly, they wouldn’t have it any other way). But the trick is knowing what string to pull when…which is what this class is about—the whats, whens, and a lot of hows. You’ll be introduced to this ancient grammar and how to use it to hack your audiences’ emotions to mainline your Story straight to their heart. Whether you’ve written several scripts or never typed “Fade Out,” you’ll discover a bag of tools & techniques to help you design and create screen stories which will keep your audience asking “uga wacta”…I mean…“what happens next?” Though focused on story creation, we’ll never forget we ply our trade within a real marketplace, so we’ll always consider the business side of professional storytelling in our ever-shifting distribution landscape. More practical than theoretical, because the best way to truly understand the ancient art of Storytelling is to develop and write your own stories for the screen. Though I want you to find stories you are passionate about telling, the focus of the class will always be the How over the What…to reveal the secrets of the Storyteller, so you can harness them to blaze whatever trail you choose.

3 if you’ve never seen Wiseau’s film, THE ROOM, you haven’t lived—not only serves as a cautionary tale, but it’s so bad it’s inspiring—with a cult following, it plays at least once a month in LA 4 translated from the caveman: “so…what happened next?” “Somebody’s got to want something, something’s 3 of 11 got to be standing in their way of getting it. You do COURSE OBJECTIVES that and you’ll have a scene.” — Aaron Sorkin Beyond building my army for a bid at world domination, my primary goal is to help you grasp the secrets of storytelling by learning to think like a professional writer & creator. In addition, I want you to know what elements a script must have to be marketable in today’s entertainment industry. By the end of the class, I want to see you know—at least, at a basic level—HOW TO—

identify & employ THE ONE THING your script must have in order to sell it

BREAKDOWN SCRIPTS/NARRATIVE MEDIA so you can identify & analyze the methods the storyteller(s) used so you can adapt them to your own projects

harness some of the TRICKS & TECHNIQUES OF ”EMOTIONAL HACKING” to build and drive your own compelling stories

wield the ever-flexible A.S.S. STRUCTURE TEMPLATE to help you develop your story’s structure

use THREE-ACT STRUCTURE as a compass to find your way through every level of your story

CRAFT SCENES so only after reading a few, potential employers/buyers will know you can craft an entire story

FORMAT A SCRIPT professionally…but also creatively as a writer's secret weapon

adapt the business and politics of the industry to MANAGE A CAREER IN HOLLYWOOD whether in features, television, or new media

IDENTIFY & CREATE OPPORTUNITIES in the entertainment industry so you will always be moving closer to achieving your career goals

“Good storytelling never gives you four, it gives you two plus two. Don’t give the audience the answer; give the audience the pieces COURSE ASSIGNMENTS and compel them to conclude the answer. Audiences have an unconscious desire to work for their entertainment.” [see SCHEDULE below for details & — Andrew Stanton deadlines] You’ll learn how to apply & practice the concepts and skills above BY—

DIGESTING READINGS FROM VARIOUS SOURCES PRIOR TO EVERY CLASS [DUE EVERY CLASS] I will assign readings from books, articles, and/or professional scripts every week. More in the beginning, less as we dive deeper into writing, but never burdensome…chosen to prime your grey matter for my lectures or cover areas we can’t in class. I will hold you accountable for knowing their content—demonstrated by your active participation in class discussions and on-the-spot verbal quizzes. I will be pulling primarily from these sources: INTO THE WOODS by John Yorke HITCHCOCK by Francis Truffaut ADV. SCREENWRITING by Linda Seger ON FILM DIRECTING by David Mamet STORY by Robert McKee WRITING FOR EMOTIONAL IMPACT by Karl Iglesias VARIOUS INDUSTRY ARTICLES FEATURE & TELEVISION PILOT SCRIPTS5

FIND & SUBMIT AN ARTICLE FROM AN INDUSTRY WEBSITE [DUE EVERY CLASS] If you want to thrive in this industry you need to keep current—especially since it’s changing year to year. To build this habit and help you decipher the industry’s arcana, you must submit an article (from the sites below) which you find interesting covering the business and/or personalities of narrative creation before every class. Article examples: a best-selling book’s film rights was bought

5 including reading & interpreting my current pilot through modern dance as a class project 4 of 11

by a studio or a showrunner shockingly fired off their own series. At the top of each class, I will select one of the articles asking whoever submitted it to explain what it says & why you choose it… launching us into a brief discussion of it’s significance to you and the industry. ACCEPTABLE WEBSITES: deadline.com hollywoodreporter.com variety.com thewrap.com PROCEDURE: In the class dropbox, I will have a folder labeled INDUSTRY ARTICLES. Anytime before class begins—7pm—you must add 1 ARTICLE from the previous 7 days…pulled off one of the websites above. Submit as a PDF by printing the webpage itself (no requirement in length).

LEARNING FROM THOSE WHO HAVE GONE BEFORE YOU As they say, this business is all about who you know…well, not to brag, but I know a few working writers…so I’m hoping to have a few sit down with me in front of you or a camera to share their experiences with you. My intention is to grab my friends who have a story different than my own. Who/when is TBD right now…but I may defer to recording the talks so you can watch on your own since it will help us fulfill the extra 10 hrs we need for class. Either way, I will ask you to do a bit of basic research on the individual and provide 3 questions/areas you would like them to speak to. I will moderate their talk so you guys get what you are looking for…and, I promise to drill down to get the real story of what’s it like to work in this monkey-house of a business.

BREAKING DOWN PROFESSIONAL SCRIPTS TO DISCOVER THEIR NARRATIVE SECRETS Just as painting students of yore would copy the masters to learn how to paint…we narrative- creators should deconstruct the works which blow us away to discover the tricks and techniques we can use to make our own work blow someone else away. I do at least a couple a year (most recently, MR. ROBOT because it’s awesome!)…so I want you to develop this useful habit, too. Throughout the semester, you’ll do this twice—in a small group project (where some of you will present your discoveries in class); and then, on your own, using a script similar to your final project. Though I will assign the scripts, if you have one you want to do, let’s discuss.

SCRIPTING…SCENE EXERCISES [1-3 pgs] During the first few weeks, I will give you prompts or scenarios to craft them into scripted scenes. The purpose is to get your hands dirty using the techniques I discuss in class…but also, to teach you how to craft a scene. Because here’s a secret no one tells new writers—if you can script a good scene, you can write a good script.6 When reading scripts to hire new writers, we television producers rarely read beyond the first act because, usually, we already know by page 10. Though we won’t workshop these exercises in class per se, I will be using some to illustrate techniques— good and bad.

DEVELOPING & SCRIPTING…A SHORT SCRIPT [8-12 pgs] Cause you can never have too many short scripts in your quiver.7 With the hope you can use this script for a production class on campus or on your own while working at Starbucks on Sunset, shorts make you the opposite of rich but they’re great calling cards. For class, we’ll use it to bring together the concepts we’re playing around with to craft a fully-arced story…where the story will be all yours, I will require certain techniques to tell it. We will also workshop (share notes verbally) these in class, which means you will be required to read your classmates scripts…the purpose, to rewrite these for the following class, to learn another eternal truth of the writer’s life—“The only kind of writing is rewriting.” Hemingway said that…but I also like what Raymond Chandler said: “Throw up into your typewriter every morning. Clean it up every afternoon.”8

6 not to say one follows the other automatically…where the same engines drive both, each require their own learning curve to master 7 all pro writers carry a script-quiver—if you don’t, buy one—it’ll make you look like a nerd…which is the first step to becoming a writer 8 each student must provide their own bucket 5 of 11

DEVELOPING & SCRIPTING…A SPEC SCRIPT [outline + script pgs (?)] As we move into the second half of the class, we’re going to get serious…we’ll take everything you’ve learned and mix it together to create the early stages of spec script with the hope you will be able to develop into a professional sample. The form & medium is up to you—though I will help you choose based on your individual career goals—chosen from the following: FEATURE SCRIPT SERIES PILOT—DRAMA (1 hr) SERIES PILOT—COMEDY (30 min) WEB SERIES (1st season) You will DEVELOP THE IDEA, DESIGN AN OUTLINE, and—as time allows—begin to SCRIPT THE FIRST DRAFT (or as I call it—the vomit draft). Though you’ll have to “clean it up” after the class has ended, my intention is you will have the tools and head-start to be able to do just that. As with the shorts, we will workshop your pages in class…allowing you the benefit of your fellow writers’ input and a working example so I can further illustrate how to use the concepts we have been discussing. Though I want this to become a legitimate sample for your future, my goal will be to use this project to strengthen your understanding & skill with the tricks & techniques of scripting a story. “Dramatic structure is not an arbitrary—or even conscious—invention. It’s organic…the human mechanism for ordering information. Thesis, antithesis, synthesis; boy meets girl, boy loses girl, boy gets PARTICIPATION & WORKSHOPPING girl; act one, act two, act three.” — David Mamet

In order for this class to succeed, THE EAGER AND CONSTRUCTIVE PARTICIPATION OF EACH STUDENT IS REQUIRED—in discussions, my interactive lectures & the workshopping of your classmates scripts. Active participation is vital for your own engagement and mastery of the material…not to mention, keeping us all awake at 9pm. I urge—no, demand—you be actively involved during class time. I will be grading you on both in-class participation and reading/commenting on your classmates’ submitted work. If you don’t read everyone’s work and share your thoughts, it is the same as being absent, so your grade will reflect this. The only way I know if you’ve read their work is if you speak-up in class. As further insurance—be prepared for me to call on you. Ours is a collaborative medium, so having the ability to give & receive constructive feedback and keep moving discussions forward is one of the most important skills you can develop. Start practicing in this class. It’s a “mistake free zone”…meaning it’s impossible to make one, as long as you try. Contrary to what Yoda9 said, failure only comes when you don’t try. The key to mastering the art of criticism is to separate the writer from the work—this goes for yourself and anyone you share notes with.10 I realize it’s hard to listen to someone pick apart something you’ve put your heart & soul into, so use this time to toughen up your writer-skin, be open to other ideas, and learn to read between the lines of even the worst notes. In turn, being careful how you give criticism is equally important. Offer up a little “sugar” before you give the “medicine”…find something positive before you say what isn’t working for you. Identifying problems isn’t enough, suggest possible solutions. Simply saying X doesn’t work for you doesn’t help a writer—say why X doesn’t, then offer up what you would change to make the story work for you. Again, how you interact and give feedback—in lectures, class discussions, and workshops—will contribute significantly to your grade.

9 truth is, word around town is Yoda’s was a--hole…during the filming of EMPIRE & RETURN OF THE JEDI, he had a big coke problem so was always going off script, mixing up his lines, and inserting his own nonsense 10 repeat after me: “I am not my script…criticism of my story is never criticism of me.” keep saying this til you believe it. “No joke…if I know what the first page and a half 6 of 11 is of my script, I don’t want to say I’m half way home ABOUT THOSE ADDL. HOURS but I can see the house.” — Aaron Sorkin As you know, in order to correct an oversight in the number of hours required for this semester’s classes to count toward your degree…10 additional hours of instruction must be added to the existing 27 already scheduled. Each instructor has been given some latitude in determining how they will bridge this gap, but a few have added 1 or 2 more 3-hr classes to their schedule. Believing this option would greatly benefit you—especially during workshopping—I would like to do the same for our class. But I didn’t want to randomly pre-select a time only a few of you could end up attending…so am waiting until our first class to find a time which works for all of us. In addition, I would like to schedule at least one 1-to-1 instructional session with each of you…I have found this has been very valuable for my previous students.

As we must find a solution, your flexibility and assistance will be greatly appreciated.

“When a film turns narrative rather than dramatic, when it fills in the blanks for a viewer’s imagination, MECHANICS & CLASSROOM BEHAVIOR interest is lost. Exposition, backstory, or characterization spotwelds a reader’s interest to ASSIGNMENTS & SCRIPT PAGES what is happening now…stopping the show.” — David Mamet Assignment instructions will always be discussed in class. I will invite you to join a Dropbox folder—labeled UTLA:WHW—you will use this to share assignments with me and the entire class (when appropriate). Please do not submit anything to me on paper, only electronically, saved as a PDF. I also accept emails. As a general rule, most writing assignments will be due at 5pm on the Tuesday before Thursday classes (5pm on the Monday before the Wednesday classes)…this will be true unless otherwise specified. These deadlines—and all others—will be strictly enforced…this is so your classmates and I have plenty of time to read & consider your work so you will get the most out of your workshopping sessions. Unless you get prior permission, assignments turned in late will be penalized as follows: 0-2 hrs late [GRACE PERIOD]; 2-12 hrs late [2.5% GRADE DEDUCTION]; 12-24 hrs late [5% GRADE DEDUCTION]; over 24 hrs late [10% GRADE DEDUCTION]; not submitted by class start [0 POINTS FOR ASSIGNMENT].

GRAMMAR & FORMATTING Professional grammar, spelling, & punctuation is strictly encouraged. We live and die by the word in this business, so we need to present our own the best we know how. If your work doesn’t look professional, it won’t be read by professionals. So start practicing now. With script formatting, I’ll give grace as I assume many of you will be learning…but if I show you something in class, I expect it to be followed. I’m usually vigilante on this as I used to be a Script Coordinator—tv production’s Script Manager/Editor—so I like me some nicely formatted Courier. If your script is sloppy, I’ll assume you don’t care so your grade will reflect this. But in all things, if you have any questions, don’t hesitate to ask—my schedule/phone/email is always open. 7 of 11

ATTENDANCE Every student is required to attend all classes as scheduled. You’re expected be on time and prepared for each class. We rise or fall together, so we need you to be here with us. You are allowed 1 Unexcused Absence…for every Unexcused absence after, your grade will be lowered by 5% [ex: 93% 4 88%]. You are allowed 1 Late Arrival [over 5 mins past 7pm]…but for every 2 Late Arrivals after, your class grade will also be lowered by 5%. Of course, if you run into an unforeseen problem—like LA traffic—talk/text me first. Grace is always granted for those who ask.

PLEASE NOTE: AT NO TIME MAY YOUR INTERNSHIP BE USED AS AN EXCUSE for being late or missing class (incld. assignments). Your internship host should accommodate your classroom schedule (if you have a problem with your host, please contact UTLA’s administration). It is your responsibility to communicate your schedule with your host so they can help you fulfill all your responsibilities.

CLASS BEHAVIOR As Maximus said in THE GLADIATOR: “What you do in this class echoes into the industry,”11 so be aware of how you present yourself for it will carry far beyond here. When taking any course focusing on industry craft—like this one—you will serve yourself & your future career well if you treated it as a job interview/audition for your career. You’ll learn this industry is much smaller than you think and it’s rare anyone gets a job without being recommended by a peer. Think about it…usually these courses are taught by instructors with real-industry connections. In my case, I’m currently working in the industry you want access to. I often have the opportunity to hire, not to mention, I’m asked to make recommendations for my colleagues. But even more important, is how you appear to and treat your fellow classmates…

CONSIDER THIS: the 2 major breaks responsible for the successful career I’ve had as a television writer/producer came to me through two college classmates I hadn’t spoken to in years. They remembered my passion & professionalism in my production classes, so knew they weren’t risking their own reputations by recommending me. And honestly, they were the two people I least thought would ever be in a position to help me. The gatekeepers aren’t the big names we all recognize, it’s the nameless peons who work for them—down to that trusted 2nd Assistant who just so happens to have a friend with a really great script. It really does matter who you know, but its usually the people you least suspect.

The following are non-negotiable: TURN OFF YOUR CELL PHONES BEFORE COMING TO CLASS! If you use a laptop…USE IT TO TAKE NOTES, NOT UPDATE YOUR FACEBOOK PAGE! I will confiscate cell phones & laptops if I have to. As writer/creative-types, I realize we are almost biologically dependent on our laptops…but if I feel they are distracting you from paying attention or participating in class, I will ban them from class and we’ll go back to the Pen & Paper Age. Even we tv writers never bring them into our writers-room for this very reason, our Showrunner wants all of our attention…so just consider me your Showrunner.

11 I realize Crowe didn’t say this in the film, but this was how Logan wrote the line in his first draft “When I think of pacing, I go back to Elmore 8 of 11 Leonard who said he just left out the boring parts. To speed GRADING & ACADEMIC BUSINESS up the pace, all you have to do is ‘kill your darlings!’ I got a comment that changed the way I rewrote forever. Jotted PERCENTAGES below a rejection letter was this mot: ‘Not bad, but puffy. Revise for length. Formula: CLASS PARTICIPATION % 25 2nd Draft = 1st Draft — 10%.’” LECTURES & DISCUSSIONS [questions & comments] 15% — Stephen King GIVING NOTES & WRITERLY AID [during workshops] 10% KNOWLEDGE OF READINGS [shown in work & discussions] 5% INDUSTRY ARTICLES [weekly submissions & discussions] 5% GRADING SCALE GUEST MENTORS [quality of questions & post-discussions] 5% A 100 - 93 WRITING EXERCISES & BREAKDOWNS 10% A- 92 - 90 SCRIPT PROJECT: SHORT FILM [incl. taking notes] 25% B+ 89 - 87 86 - 83 DEVELOPMENT/OUTLINES 10% B B- 82 - 80 SCRIPT PAGES/REWRITES 15% C+ 79 - 77 SCRIPT PROJECT: SPEC SCRIPT incl. taking notes 25% [ ] C 76 - 73 DEVELOPMENT/OUTLINES 15% C- 72 - 70 SCRIPT PAGES [as time allows] 10% D+ 69 - 67 D 66 - 63 FINAL EXAM D- 62 - 60 NO final exam for this class. NO incompletes given. F 59 - 0

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RELIGIOUS HOLIDAYS Religious holy days sometimes conflict with class and examination schedules. It is the policy of the University of Texas at Austin you must notify your instructors at least fourteen days prior to any class you will be absent to observe a holy day. You will be given an opportunity to complete the work missed within a reasonable time after the absence.

UNIVERSITY ELECTRONIC MAIL NOTIFICATION POLICY It is the student’s responsibility to keep the University informed as to changes in his or her e-mail address. Students are expected to check e-mail on a frequent and regular basis—daily or, at minimum, twice/week—in order to stay current with University communications, recognizing they may be time-critical. The complete text of this policy and instructions for updating your e-mail address are available at: http://www.utexas.edu/its/policies/emailnotify.html. 9 of 11

“Story as such can only have one merit: that of making the audience want to know what happens next. Conversely, it can only have one fault: that of making the audience not want to know what happens next.” 12 SCHEDULE — E.M. Forster

DATE CLASSROOM ASSIGNMENT

CLASS DUE DISCUSSION / WORKSHOP due at 5pm unless o/w stated

to use, follow the arrows…then repeat 1 READING JUN 2 ‣ “The Business of Too Much TV” [article] 3 JUN 2 2 OVERVIEW OF YOUR COURSE. Intro instructor’s b.g. & fellow students and what our goals are for the course. DISCUSS: • Peak TV (re: article) CRAFT: READING [DUE FOR 6/9 CLASS] ‣ “No Country For Old Men” [script] • Write-Thinking—how to become an emotional manipulator • The Secret Sauce to Writing Success—ANTICI…PATION! WRITING ‣ 2 SCENES: using anticip, the same scene JUN 7 twice—once w/ dial, then without

JUN 9 Wherein we are introduced to the elements we must use to tell our stories… DISCUSS: • Antici…pation—how the Coen’s use it in NCfOM READING [DUE FOR 6/15 CLASS] ‣ Pilot in Network Development, choose • Breakdowns—how to steal…I mean, learn…from the best from those provided [script] WORKSHOP: • Workshop 101—review select scenes & how to share notes DEVELOP [DUE FOR 6/15 CLASS] ‣ CRAFT: BREAKDOWN: watch & analyze based on a pilot you select from the ones I provide • The Toys of Storytelling—the elements we must use • Crisis Interruptus—the real 3 act structure WRITING ‣ SCENE-WORK: choose 1 of the 3 short UN J 14 stories provided, adapt to script

JUN 15 WEDS Wherein we begin to learn how to play with our toys… DISCUSS: • What’s in Your Shorts—how to craft a short film story • Perfect-Pitch—selling (& listening) to prod/execs WORKSHOP: • Scene Yoga—review select scenes & what they teach us • Break It Down!—present your findings CRAFT: • Weapon Safety 1—don't shoot your own story in the foot DEVELOP ‣ SHORT FILM CONCEPTS: 3 ideas to pitch JUN 16 (incl. characters/conflict/resolution)

12 instructor reserves right to make adjustments due to his short-sightedness & poor organizational skills… 10 of 11

JUN 16 THURS Wherein we learn how to use our toys to kick ass… READING [DUE FOR 6/22 CLASS] ‣ INTO THE WOODS: Ch.7—Acts & Ch.8— DISCUSS: Inciting Incident & Ch.9—Scenes additional class • Showing Off—the art & business of writing samples ‣ WRITING FOR EMOT. IMPACT: Ch.8—Writing as discussed WORKSHOP: Great Scenes ‣ (7-10p) • Show Us Your Shorts—pitch 3 Short ideas, choose 1 STORY: Ch. 7—Substance of Story • It Takes a Village—breaking outlines like a Writers’ Room DEVELOP [DUE FOR 6/22 CLASS] CRAFT: ‣ SCRIPT SAMPLE: 3 story concepts to pitch • The Writer’s Multi-Tool—pulling the 3C Chain (incl. format/protag/world/gen. story)

WRITING JUN 20 ‣ SHORT SCRIPT: 1st draft of Full Script

JUN 22 WEDS Wherein we begin applying what we’ve learned…

DISCUSS: READING [DUE FOR 6/30 CLASS] • reading ‣ “The Jury” [pilot script] • The Beat Down—beat sheets vs. outlines ‣ INTO THE WOODS: read Ch. 3—Five-Act WORKSHOP: Structure & Ch. 4—Change ‣ • Gentle Wedgies—notes for Short Scripts (1st draft) STORY: Ch.9—Act Design • Batter Up!—pitch your 3 Script ideas, choose 1 DEVELOP CRAFT: ‣ SCRIPT SAMPLE: write-up a “Beat Sheet” • Story Physics—big structure & proper tentpole placement w/ the 5 tentpoles & major beats

JUN 28 WRITING [DUE BY 7/7 CLASS] ‣ SHORT SCRIPT: 2nd draft of Full Script

JUN 30 Wherein we learn to thicken our skin… MENTOR: • VJ BOYD (surviving pilot season even when it crashes) WORKSHOP: • Fashion Show—discuss selected Short Scripts (2nd draft) READING [DUE FOR 7/7 CLASS] • Tent Making—notes for Script Sample Beat Sheets ‣ WRITING FOR EMOT. IMPACT: Ch.6—Rising Tension CRAFT: ‣ SEQUENCE: How A Screenplay Works • Weapon Safety 2—advanced tactics & guerrilla storytelling DEVELOP/WRITE JUL 5 ‣ SCRIPT SAMPLE: full structured Outline

JUL 7 Wherein we get serious… DISCUSS: • reading READING [DUE FOR 7/14 CLASS] WORKSHOP: ‣ STORY: Ch.14—Character • Coloring In the Lines—notes for Script Outlines (full draft) ‣ INTO THE WOODS: Ch.13/14/15— CRAFT: Characterization and… ‣ ON DIRECTING FILM: Ch.2—Where Do You • Agents of S.T.O.R.Y.—character & dialogue as vehicles of Put the Camera? drama…not narrative DEVELOP/WRITE JUL 12 ‣ SCRIPT SAMPLE: 2nd draft of full Outline

JUL 14 Wherein we begin to put it all together… DISCUSS: • reading READING [DUE FOR 7/21 CLASS] ‣ INTO THE WOODS: Ch.10—Putting It WORKSHOP: Together & Ch.11—Showing Not Telling Reading Maps—notes for Script Outlines (2nd full draft) • ‣ ADV. SCRNWRTING: Ch.3—Keep It Moving CRAFT: ‣ STORY: Ch.10—Scene Design • Invisible Engines—using Theme as a development tool WRITE ‣ SCRIPT SAMPLE: Script Pages and/or 3rd JUL 19 draft of full Outline (tbd by instructor) 11 of 11

JUL 21 Wherein we take the plunge… DISCUSS: • reading READING [DUE FOR 7/28 CLASS] ‣ INTO THE WOODS: Ch.15—Dialogue; Ch.16 WORKSHOP: —Exposition; Ch.17—Subtext WTF!—notes for Script Pages and/or Outlines (per writer) • ‣ WRITING FOR EMOT. IMPACT: Ch.10—Vivid CRAFT: Voices • Trick & Treat—tips & tricks to turn your script into gold ‣ STORY: Ch.18—The Text

WRITE JUL 26 ‣ SCRIPT SAMPLE: Script Pages—rewrites & new (tbd by instructor)

JUL 28 Wherein we celebrate all your hard work & ass-kicking! WORKSHOP: • Spit & Polish—final notes for Script Pages (per writer) CRAFT: • AMA—you ask, I’ll answer & any loose ends WRITE [FINAL ASSIGNMENT] ‣ SCRIPT SAMPLE: Script Pages—rewrites & TBD new (tbd by instructor)

EXTRA INSTRUCTION HOURS…

The additional 10 hours required for the course will be STUDENT REQUIRED delivered through — PARTICIPATION

3 AN ADDITIONAL CLASS ‣ Attend • June 16th as listed above

0.5 SCREENPLAY FORMATTING ‣ Watch & Read…follow rules in • Video & Guide script assignments

1.5 HOW THE 3C CHAIN IS USED IN BREAKING BAD ‣ Watch • Video with Commentary & Annotated Script ‣ Answer the brief quiz attached

2 HOW TO PRODUCE A TV DRAMA ‣ Watch • Video & Commentary of how we created & produced ‣ Answer the brief quiz attached one of my episodes of CSI:MIAMI

1 INTERVIEW: WRITING/PRODUCING A SITCOM ‣ Watch • Video Interview w/ Jeremy Howe, Producer on THE ‣ Answer the brief quiz attached BIG BANG THEORY

1 INTERVIEW: PITCHING & WRITING FEATURES ‣ Watch • Video Interview w/ Michael McGrale, writer & ‣ Answer the brief quiz attached uncredited script doctor of several features

1 INTERVIEW: WRITING/PRODUCING IN THE NEW FRONTIER ‣ Watch • Video Interview w/ Scott Reynolds, Co-Exec. Prod. on ‣ Answer the brief quiz attached a couple of Netflix’s Marvel series