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SCI-FI/HORROR (08765) Professor Maya Perez

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SCI-FI/HORROR (08765) Professor Maya Perez Fall 2020 RTF: 369 ADVANCED SCREENWRITING: SCI-FI/HORROR (08765) Professor Maya Perez Fridays 9am - 12pm on Zoom Email: [email protected] ​ Office hours: by appointment Recommended Texts: SCRIPTS! SCRIPTS! SCRIPTS! Screenplay and Four Screenplays by Syd Field On Writing by Stephen King Bird by Bird by Anne Lamott On Story: Screenwriters and Their Craft edited by Barbara Morgan & Maya Perez The Writer’s Journey by Christopher Vogler Recommended Podcasts & Blogs: “Scriptnotes” “Austin Film Festival’s On Story” gointothestory.blcklst.com Required Reading: Will be emailed to you or posted on Canvas Course Page. ​ Additional scripts are available online. If you are unable to find an unassigned script, let me know and I will try to track it down for you. Software: Final Draft, Fade In, or Highland are required for this course. Contact me for ​ the current Final Draft student discount code, if you need it. Fade In offers student discounts on their site, and Highland is free for students. COURSE DESCRIPTION: This advanced screenwriting workshop will focus on horror and science fiction writing—two exciting genres that have provided opportunities for countless new writers in the film industry. Each student will write a feature-length narrative horror and/or science fiction screenplay and provide weekly notes on their classmates’ work. In addition, we’ll make a semester-long study of the current trends in each genre, reading and analyzing some of the biggest hits of recent years. In this course, students will continue their exploration of the basic dramatic principles of the form—story, character, and structure. Class meetings will be divided into lecture/discussion and workshop/critique sessions. Writing requirements: By the end of the semester, each student will have a complete ​ ​ treatment, outline, and first draft of an original feature-length screenplay. Students will also each write a thorough scene-by-scene analysis of a script of their choosing – tracing the characters, their wants, what’s at stake for them, and the forces standing in their way. The purpose of this analysis is to underscore the guideposts of structure. Reading Requirements: The craft of screenwriting is learned through the critical ​ examination of screenplays and films. Students are expected to critically read the assigned scripts. We will analyze these scripts together in class. Students are also expected to read their classmates’ script pages and write constructive feedback. Office Hours: Students are strongly encouraged to contact me to schedule virtual office ​ hours. I am available to discuss story issues, if you’re struggling to meet deadlines, or any class- or industry-related questions you might have. Mechanics: Writing assignments are to be posted on Canvas by midnight on Tuesday ​ to be discussed on Friday. Script pages must include a title page with a title (even if it’s just a placeholder) and your name. Please post your script pages as a PDF and title the document with your name and the assignment, e.g.: MPerezOutline.pdf Students must adhere to this deadline in order to give their peers plenty of time to read the script pages before class. Each assignment should be treated as a submission to a producer and thus should look professional—properly formatted and free of spelling and 1 grammatical errors. Sloppy work gives the impression that you don’t care about your readers or your script. Notes on your classmates’ script pages should be emailed to the respective classmate and me by midnight on Friday of the respective class. Class Participation: Active participation from each student is required. In this ​ exclusively online workshop students are expected to come to class having thoroughly read all the work to be discussed and prepared for meaningful discussion in addition to the written feedback which they are providing their peers with on each set of pages. The workshop is only as good as the efforts put forth by its participants. At the end of the semester, students will be grading each other on the quality of their participation. The grade you receive from your classmates will modify the participation portion of your grade. Attendance: We’ll be moving very quickly in this class and covering a lot of ground in ​ just a few weeks. Attendance and participation are crucial to your learning and goal of completing a feature script by semester’s end. After one absence, you will be penalized 10 points per unexcused absence. I do not require doctor’s notes or documentation—you are adults, here by choice, and I trust you—but I do expect communication. Unless it’s an emergency and you’re unable to, please let me know in advance if you will be missing class, so I know not to wait for you to begin. If absent or late, you are responsible for what was covered in class, including assignments and feedback on your classmates’ scripts. All students are expected to have their laptop/computer camera on during the virtual ​ ​ class. Staring at blank squares hinders this class from being a space for creative interaction. Please turn off notifications and cell phones during class. Students should be appropriately dressed for class (no pajamas) and sitting up in a chair (not in bed) in a well-lit area. Class Recordings: Class recordings are reserved only for students in this class for ​ educational purposes and are protected under FERPA. The recordings should not be shared outside the class in any form. Violation of this restriction by a student could lead to Student Misconduct proceedings. 2 Grading: In evaluating your work, I try to assess what’s been learned and how hard a ​ student has worked. Have you demonstrated an understanding of the dramatic concepts discussed in class, and is that understanding reflected in your work? Your final grade will reflect the quality and sincerity of your efforts in this class. There will be no tests or final exam. +/- letter grades will be assigned. Grades will be determined on a 100 point scale: Prep work (log lines, outline, etc.): 30 Model film scene-by-scene analysis (including class presentation): 10 Pages: 30 Class Participation (including peer review): 30 Summary: The creative process can be exciting but also challenging, even more so ​ during this unprecedented time. I’ll do everything I can to help guide you and make this class as meaningful a learning experience as I can. Please know that I am aware that the adversities you face vary greatly and have very real implications in your lives. Please contact me if you’re having concerns or problems that you want to discuss. 3 COURSE SCHEDULE (subject to change): All classes will be conducted through Zoom. All coursework will be transmitted online. Students are expected to have cameras on for virtual class, should be appropriately dressed for class (no pajamas), and sitting up in a chair (not in bed) in a well-lit area. If living accommodations make this difficult, please contact me directly to let me know. “I often feel like horror and genre, in general, can be a really great container for ideas ​ that are harder to actually make movies about.” - Karyn Kusama, director THE INVITATION, JENNIFER’S BODY 08/28 DISCUSS: Orientation, goals for the class. What scares you? What story do you want to write? Why? What’s your connection to it? Defining the genres, identifying key elements. Using the genre as a vehicle for confronting our fears and social commentary. Loglines. ASSIGNMENT: Read logline article, write a logline, list movies in same wheelhouse/influences READ: THE BABADOOK by Jennifer Kent 09/04 DISCUSS: Loglines. THE BABADOOK structure. Scene-by-scene analysis and class loglines. Scene-by-scene breakdown of your model film. What is your beginning, middle, end? What are your big scenes? Who are your characters and what do they want? How will they change and/or the world around them be changed? Writing exercise: Character bios. ASSIGNMENT: Scene-by-scene breakdown of your model film, revise logline READ: Script of model film 09/11 DISCUSS: Breakdown presentations. Treatments. Should be 2-3 pages and include your main characters, their wants, and obstacles; major story/plot points, beginning, middle, and end (first act, second act, third act), including inciting, act breaks, turning points, resolution. Include your revised selected logline and a title. Your second act should be the longest section. Do you have the right protagonist? Antagonist? What’s your story really about? ASSIGNMENT: Read treatments article and write a treatment READ: A QUIET PLACE by Scott Beck & Bryan Woods 09/18 DISCUSS: A QUIET PLACE guest speakers Scott Beck & Bryan Woods. Discuss class’ treatments. What ground are you covering in the first act? What questions does your first act ask? Are they answered in your third act? What is the best/worst thing that could happen to your character/s? Does it happen? Outlines. What happens in each scene? What purpose do these 4 scenes serve? Must they occur in this order? Do the stakes increase, does the pace quicken or slow with each subsequent scene? ASSIGNMENT: Write an outline that includes: slug lines, act breaks, the goal of each scene. What is the scene’s beginning, middle, end? READ: GET OUT by Jordan Peele "Your scientists were so preoccupied with whether or not they could that they didn't stop to think if they should." - Dr. Ian Malcolm, JURASSIC PARK 09/25 DISCUSS: GET OUT. Class outlines. How can they be stronger? Does each scene serve a purpose? Escalate tension? Move the story forward? Can scenes be combined? ASSIGNMENT: Revise your outline READ: THE WITCH by Robert Eggers 10/2 DISCUSS: THE WITCH. Class pages. Next up: Inciting incident.
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