Simon Jefferson

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SIMON JEFFERSON WRITING CREDITS o May 2021: Floppy Toast with Drippy Butter: Drama Short – Lone Pine Pictures, Durham o March 2021: Semi Finalist Killer Shorts Screenplay Competiton o August 2020: Scrap On (short script) nominated for best short screenplay - Monkey Bread Tree Film Awards o June 2020: Web Series Episode “The Confessional” – Rebel Muse, London o May 2020: Mr. Brightside - Lockdown Monologue Film Festival o April 2019: Semi Finalist - SoCreate "Get Writing" Screenwriting competition o November 2018: Web Pilot “The Secret Life of Mr McKie” – Royal Holloway, London o June 2018: Finalist - Rebel Muse #Unsigned Writers Showcase o May 2018: Stage Play “Married Sex” - Pleasance Theatre, London IN DEVELOPMENT o The Walking Saint: Horror Short – New College Durham, Durham o Burnhope: Horror Feature – Old Hall Films, Manchester o The Monster: Horror Short –Old Hall Films, Manchester o The Confessional: Web Series – Series 1 “The Player”, Rebel Muse, London o Oníja: Web Series Pilot - Currently in post-production, Legacy Events UK, London o Sea of Trees: Fantasy/Drama short - Couch Potato Films, Hartlepool EDUCATION o 2017-2018: MA in Screenwriting for Film & TV - Royal Holloway, London o 2009-2010: PGCE 16-19 Creative Media Diploma Sunderland University o 2002-2005: BA (Hons) in Media Production Northumbria University PROFILE Simon is a screenwriter based in County Durham. He has written multiple shorts, web series pilots and several monologues. He is currently developing his first feature film with Old Hall Films, Manchester, UK. He loves to produce slow-burning, thoughtful stories with an undercurrent of graphic violence, think Studio Ghibli meets a 1980s Paul Verhoeven. When not writing his own pieces, he works with students at New College Durham, helping them develop their own storytelling practices. HOBBIES SKILLS • Computer Games, comics & graphic • Celtx/WriterDuet/Final Draft novels • Adobe CC (Premier, Photoshop, InDesign) • Collecting Vinyl as he’s a weird hipster • Microsoft Office (Word, Excel, • Cooking chilli’s and steaks PowerPoint, OneNote) • Travelling www.SimonScreenplays.co.uk [email protected] 07772090061 .

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Writers Professional Materials
Writers Professional Working Materials INTRODUCTION Writers professional working materials and the tools of the trade – they are considered the sales tools for a writer’s work. These will be the most utilised materials when trying to establish yourself as a scriptwriter as either writer-for-hire work or when pitching your own original idea. No Producer or Production Company (locally or internationally) will ever read a script, treatment, logline or synopsis – unless a pre-existing relationship is in place – unsolicited. This means writers first need to be invited to send through materials in the manner that best suits that Producer or Production Companies. This helps to protect copyright or a copyright claim for both parties. It is also important to note that in international territories only Agents are able to introduce writers to Producers and Production Companies. Below each header you will find links to helpful sites and further information. As a screenwriter your job is to write, research, write, learn, write, and adapt. Google is your friend and before you ask Facebook for the answer, ask Google! Or check out the NZWG website for information on knowing your rights, contracting, useful facts and upcoming events. Before going any further, the below link is a must read for newcomers and is aimed at people applying for early development funding. It’s put together by Screen Australia, and is a very basic ‘How To Guide’ for feature filmmakers on application materials included in their application process – logline, synopsis & treatment. https://www.screenaustralia.gov.au/getmedia/ae5708a4-05d9-4db0-b5fb-4f999fdfed57/What-is-a- synopsis.pdf Below are all the materials broken into parts, starting with how to format your works.
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Screenwriting I Film-M213-002 Engl-A313-002
SCREENWRITING I FILM-M213-002 ENGL-A313-002 Course Term: FALL 2020 Course Location: ONLINE Class hours: TU/TH, 3:30-4:45 pm Instructor: Miles Doleac, PhD Office Location: CM Building 412 Phone: (Office) 504-865-3430, (Cell) 601-329-1630 Email: [email protected] Office hours: By appointment “A screenplay is a story told with pictures, in dialogue and description, and placed within the context of dramatic structure.” -Syd Field REQUIRED TEXTS: Field, Syd. Screenplay: The Foundations of Screenwriting, rev. ed. New York: Bantam Dell, 2005. McKee, Robert. Story: Substance, Structure, Style, and the Principles of Screenwriting. New York: HarperCollins, 1997. Rogan, Michael. Screenplay Format Made (Stupidly) Easy. Scriptbully, 2018. COURSE AIM: This course is intended to introduce students to the craft of screenwriting, and, in broader terms, the art of storytelling. In doing so, our focus will be the following: 1) Hollywood paradigms and brilliant scripts that defied them 2) classical dramaturgy, mythology and universal forms: how age-old tropes have been assimilated and appropriated by Hollywood 3) Movie writing as a “combination of art and science” (to borrow Field’s phrase): techniques, tricks and the search for a subject 4) what makes compelling characters and dialogue 5) formal or “traditional” screenwriting structure. NOTE: I place “for- mal screenwriting structure” last in my litany of focus points, because, although important to always keep in mind, the “rules” of screenwriting are often and often quite effectively violated. YOUR CHARGE: By the end of this semester, you will have written 15 or so pages of a NEW screenplay, a self-contained short film.
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NEWM-N-460-Advanced Scriptwriting-SPR2018
NEWM N460 Advanced Scriptwriting Department of Human-Centered Computing Indiana University School of Informatics and Computing, Indianapolis Spring 2018 Section No.: 26875 Credit Hours: 3 Day & Time: Tuesdays, 12 p.m.-2:40 p.m. Location: IT 357, Informatics & Communications Technology Complex 535 West Michigan Street, Indianapolis, IN 46202 [map] First Class: January 9, 2018 Website: https://canvas.iu.edu/… Instructor: John King, M.S., Lecturer Office Hours: TBA Office: IT469 Phone: (317) 278-4145 (Canvas e-mail preferred – I’m rarely at my desk, but often at a computer) E-mail: Canvas inbox only Website: http://soic.iupui.edu/people/john-king/ Prerequisite: NEWM N260 Scriptwriting or ENG W302 Introduction to Screenwriting COURSE DESCRIPTION This course provides a deeper examination of scriptwriting for 3D animation, computer games, and film, building on previously introduced theories and practices. It focuses on an in-depth analysis of the techniques and processes of scriptwriting, including genre, theme, development, character, dialogue, story structure, formatting, style, and revision. Required Textbooks/Software: Trottier, David. (2014). The Screenwriter’s Bible. Los Angeles, CA: Silman-James Press; 6th Edition. ISBN: 1935247026 http://www.amazon.com/Screenwriters-Bible-6th-Complete-Formatting/dp/1935247107/ Drennan, Marie, Vlad Baranovsky, and Yuri Baranovsky. (2013). Scriptwriting 2.0: Writing for the Digital Age. Scottsdale, AZ: Holcomb Hathaway Publishers. ISBN: 9781934432426 http://www.amazon.com/Scriptwriting-2-0-Writing-Digital-Age/dp/1934432423/ A free Celtx.com account or other appropriate software for formatting scripts. Additionally, the instructor will provide handouts, web links, and other materials to supplement the above texts. 1 2 References screenwriting.io johnaugust.com celtx.com Technology Requirements • Your school-required laptop computer • An IU Box account.
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Course Syllabus Scriptwriting RTVB 1429
Course Syllabus Scriptwriting RTVB 1429 Semester with 32253 Course Reference Number (CRN) Instructor contact Instructor: Russ Armstrong information: Telephone: Email: [email protected] Office Location and Hours: Course https://hccs1.mrooms3.net/login/index.php (ONLINE CLASS) Location/Times: Course Semester Credit Hours: 4 Credit Hours (SCH) Lecture Hours: 3 (lecture, lab) If applicable Laboratory Hours: 2 External Hours: Total Course 80.00 Contact Hours Course Length 12 Weeks (number of weeks) Type of Instruction Online Course Description: Writing scripts for film and electronic media. Emphasizes format and style for commercials, public service announcements, promos, news, documentaries and films. Course PREREQUISITE: Prerequisite(s) • ENGL 1301 FREQUENT REQUISITES • Departmental approval • College Level Reading • MATH 0308 (Introductory Algebra) • College Level Writing Academic 1. Apply cinematographic concepts to film/video projects including camera Discipline/CTE setup, lighting, and scene design. Program Learning 2. Compose effective treatments and scripts for use in common video and Outcomes film genres including documentaries, dramas, commercials, news, and public service announcements. 3. Demonstrate the preparation needed for film and video production, management (including budgeting, supervision of personnel, permitting, scheduling and guild/union relations) and post-production supervision. 4. Describe accepted film industry distribution processes including promotions, advertising, and publicity. 5. Demonstrate industry standard film/video editing and post-production processes used in the completion of shorts, trailers, documentaries, and features. 6. Develop professionally acceptable resumes, demo reels and interview techniques needed for employment within the film industry. Course Student 1. Write commercials and public service announcements. Learning Outcomes 2. Produce documentary and/or narrative scripts for long-form productions.
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Judging Screenplays by Their Coverage
JUDGING SCREENPLAYS BY THEIR COVERAGE An analysis of 12,000+ unproduced feature film screenplays and the scores they received, revealing what professional script readers think makes a good screenplay. BY STEPHEN FOLLOWS AND JOSH COCKCROFT WITH LIORA MICHLIN IN PARTNERSHIP WITH SCREENCRAFT JUDGING SCREENPLAYS BY THEIR COVERAGE CONTENTS Foreword .........................................................................3 TL;DR ..............................................................................5 Introduction .....................................................................6 Section A: How To Impress Script Readers ........................8 What Matters Most to Script Readers ........................................................................................................................................................... 9 Genre-specific Advice ................................................................................................................................................................................... 10 Sentiment ...................................................................................................................................................................................................... 17 Plot Arcs ........................................................................................................................................................................................................ 19 Swearing.......................................................................................................................................................................................................
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CTE Production & Managerial Arts Pathways Journalist Strand
CTE Production & Managerial Arts Pathways Journalist Strand You are free to copy, distribute, and otherwise share screen images of the North America Scholastic Esports Federation Toolkits for educational purposes, including training, in- person or online teaching, presentations, review, evaluation, internal Club use, and handouts for related activities. You may not use North America Scholastic Esports Federation Toolkits screen images for commercial gain, and may not alter, transform, or build upon them without written permission from the North America Scholastic Esports Federation. Each use from the North America Scholastic Esports Federation Toolkits should be attributed as follows: "Reprinted with permission from The North America Scholastic Esports Federation.” NORTH AMERICA SCHOLASTIC ESPORTS FEDERATION CTE Production & Managerial Arts Pathways Journalist Strand 3 Coversheet Letter 4 Esports + Career Technical Education (CTE) Pathways 10 Course: Broadcast Journalism 14 Course: Creating Legends: English 9 / Esports Game Design 21 Course: Art of TV and Video Production 25 Course: Something from Nothing: Esports, Entrepreneurship, & English 10 36 Course: Art of TV and Video Production Advanced 41 Course: Big Trends, Growth Opportunities: The Future of Esports Marketing / English 11 48 Course: Production and Managerial Arts – Professional Internship 51 Course: The Saga of the Tournament: Event Crafting through Esports & 12th Grade English 63 Course: Grandstands and Accolades: Winning through Education and Esports © 2020 North America Scholastic Esports Federation 2 Dear Colleagues, One of the founding principles of the North America Scholastic Esports Federation is to provide a connection between esports and college and career readiness for ALL students. Therefore, it is with great excitement that I share with you the accompanying curriculum pathways developed by educators from the University of California, Irvine, the Orange County Department of Education, and various innovative educators around the country.
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Getting Your Screenplay Produced Networking
GETTING YOUR SCREENPLAY PRODUCED Having a finished screenplay is just the first step of many towards the ultimate goal of getting your movie made and having it viewed by as many people as possible, and as a writer, you may feel that your job is done. It isn’t. That brilliant screenplay sitting on your hard drive isn’t going to make itself. It’s up to you. We’re going to explore several different steps you can take to increase the chance of your screenplay being produced as well as help you understand what other skills you’ll need to develop if you’re going to have a successful and lengthy screenwriting career. What cannot be understated before you read on is that none of the avenues we’re going to look at will matter if you haven’t crafted your script into the absolute best draft possible. With no room for errors, your script needs to be ready, even if you’re not. NETWORKING Yes, you can make a movie on your own, but it’s extremely difficult, and probably not much fun. That’s why building a network of potential collaborators is vital. Filmmaking really is a team effort, so think of networking as you simply building long-term relationships with like- minded creatives (aka making friends). Finding people who are going to be as passionate about your project as you are is pivotal to getting your script produced, and networking is a necessary skill that all writers need to conquer. Thankfully it’s one that becomes easier with practice.
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Film & Documentary Script Writing Process
Vol-1 Issue-4 2015 IJARIIE-ISSN(O)-2395-4396 Film & Documentary Script Writing Process SONU SHARMA Assistant Professor,Department of Mass communication & Television-Film Technology NIMS University Jaipur, Rajasthan, India ABSTRACT Film and documentary script writing is easy process. It’s related to our real lives, ideas and emotions, mind and passion, revolve in different spheres altogether. If we can see any emotional seen in film or documentary, we react immediately. In reel life they are meaningful the instant they happen. A well-written film and documentary script is achannel through which you can create feeling and epiphany at will. That is one motive why it is possibly the most critical facet of the filmmaking process. The script consists of scene headings, character names, dialogues, actions etc. Rich intelligence related to the movie can be extracted easily and accurately from each component of the script. But since the script does not contain time information, additional processes are required to synchronize the script with the movie. Many filmmakers write a paper edit after shooting in place of a script. This process has and does work with many types of films. However in most of the films, the filmmaker will ask the question what should I shoot.Now it is imperative to start out with a well-written script, whether or not things change during the shooting process. Frequently preparing a script before can make the difference between a bad film and a good film. Following the principals of script writing techniques we make best, a good film and a great film.
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Final VFX Mobile Apps DGA EDITS V15
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SCR-2-2 Syllabus
SCREENWRITING II FILM-M294-002 ENGL-A314-002 Course Term: SPRING 2019 Course Location: TBD Class hours: TR 2:00pm-3:15pm Instructor: Steven Esteb Office Location: Comm/Music 405 Phone: 310-775-7560 Email: [email protected] Office hours: TBD Text and Instructional Materials: There are no required texts for this course. However, the following text is recommended for any serious screenwriter to purchase. It is on reserve in the library: The Screenwriter’s Bible by David Trottier; Silman-James Press (2014); ISBN: 978-1-935247-10-4. Recommended reading on reserve in library: Screenplay by Syd Field. Screenwriting software MUST be used in this class. Celtx and WriterDuet are free software that is adequate. Final Draft is preferred and the industry standard. Cost is $129.99 https:// store.finaldraft.com Obligatory supplemental reading materials will be posted on Blackboard or placed in the library. Brief Course Overview: This course is the second in a two-part sequence in which students learn to format, structure and write for the visual medium of narrative film, TV or digital media. Upon completion of the course, students will have the foundations necessary to complete full story concepts and both feature and television scripts in Screenwriting II. Expected Student Learning Course Outcomes: 1. Students will learn current industry script formatting standards.. 2. Students will learn to use current screenwriting software. 3. Students will gain a visual language to scripting techniques. 4. Students will begin to learn the concise craft necessary for today’s screenwriter. 5. Students will develop tools to critically analyze quality of writing.
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Usc School of Cinema-Television
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Moving Image Arts
Moving Image Arts Moving Image Arts Support Guides: PRODUCTION MANAGEMENT 1 Moving Image Arts DISCLAIMER External links are selected and reviewed when the page is published. However, CCEA is not responsible for the content of external websites. CCEA cannot guarantee the accuracy of the content in external sites. This is because: • CCEA does not produce them or maintain/update them; • CCEA cannot change them; and • they can be changed without CCEA’s knowledge or agreement. Some of our external links may be to websites which also offer commercial services, such as online purchases. The inclusion of a link to an external website from CCEA should not be understood to be an endorsement of that website or the site’s owners (or their products/services). Some of the content we link to on external sites is generated by members of the public (messageboards and photo-sharing sites for example). The views expressed are those of the public and unless specifically stated are not those of CCEA. 2 Moving Image Arts GCE Moving Image Arts Support Guides Production Management Contents INTRODUCTION 4 Production Design 5 Overview of Equipment 8 Visuals 8 Audio 9 Editing 10 Filming: Top 10 Tips 11 The Crew: Role and Responsibilities 14 Managing a Production: Top 10 Tips 21 Casting: The Audition Process 23 Scheduling 25 Storyboarding 27 Health and Safety: Risk Assessments 28 Support Material: Further Resources 29 Film Production Documents: Templates 31 3 Moving Image Arts INTRODUCTION Film production is a demanding, time-consuming and multi-faceted process. To succeed in producing your own films, you must show creativity, organisation, diligence, confidence, and be able to take care of equipment, think ahead and work well with others.
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