Introduction to Screenwriting  
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Instructor :	Jennifer Van Sijll 	Time:	Fri. 9-12 p.m. CA 112
Start Date:	January 29		Office Hours: Fri. 12-1 / Wed. 7-8
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Required Reading: 
1.	Field, Syd.  The Screewriter's Workbook. 
2.	Van Sijll, Jennifer. Cinematic Storytelling.  ORDER NOW
3.	Bound (Script)     
4. 	The Professional (Script)

See optional readinglist  on Page 6.


Description
This course teaches the fundamentals of writing the feature film. The 
course focuses on three core components of Screenwriting: 

Story, Cinematic Rendering and  Screenplay Format

a)	Story: This includes classic structure, plot, theme and character

b)	Cinematic Rendering: This includes a review of the fundamentals 
        of cinematic rendering to include visual and aural representation, 
        and writing in scenario. We will discuss how to cinematically 
        represent theme, dramatic tension as well as progressions of plot, 
        theme, and character. Additionally students will examine how to 
        dramatically exploit location, historical backdrops, editing, camera,  
        lighting and point-of-view. 

c)	Format: Standard Spec Script format with be taught. Examples of 
        changing styles and variations in technique will be presented. 

Additionally, the last session will the business of screenwriting.  

General Assignments
 
Students will write the first act of an original feature film. Students are 
asked not to adapt from another medium in this course. Students will 
regularly read their work in  class and have it critiqued by their fellow 
students. Participation in readings and critiques is required and central 
to the success of the class. 

Summary of Student Assignments:  These include:

a)	Writing a Beat Sheet for their original feature length film.
b)	Writing the first 30 pages of their script in scripted form. 
c)	Reading their work in class and having it critiqued by their 
        fellow students. 
d)	Providing feedback on the script pages of their peers. Participation 
        in readings and critiques is required and central to the success 
        of the class.
e)	Bringing one video clip during the semester that illustrates a 
        writing principle or alternative assignment approved by the instructor. 

The films studied this semester: 1. Bound   2. The Professional


Outline
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Week 1		Story: Introduction: Narrative Storytelling
			Focus: Comparison of the novel and the screenplay.
			The Screenplay: a)Narrative vs. Episodic

		Dances with Wolves (Comparison of Novel to Screenplay).
		House of Sand and Fog (Comparison of Novel to Screenplay)

		Handouts: Sample pages of scripts and novels above.
		Handouts: Sample Beat Sheet.  Sample format page.

Week 2 		Story: Narrative Storytelling 
		Focus: Narrative Structure: Structuring Act 1: The first 30 
                       pages into 3 units of ten. The scene & the sequence. 

		View Act 1 of Bound ( 30 minutes).
		Reading: The Screenwriter’s Workbook: Chapter 3, 8, 9, 10
		Student Story Ideas Presented. 

Week 3		Story: Narrative Screenplay Structuring Act 2
		Focus: Crafting momentum, building                              
		       complications, creating plot twists.

		View Act 2 of Bound (60 minutes)
		The Screenwriter’s Workbook:  Chapter 11,12, 13.
		Story Chapter 7,8,9.
		Assignment: Bring two story ideas to class. 
		Student Story Ideas / or first Draft of Beat sheet Presented.

Week 4		Story: Narative Structure:  Structuring Act 3.
		Focus: The Resolution.
		The Screenwriter’s Workbook: Chapter 15

		View Act 3 of Bound (30 minutes)
		Student Story Ideas / of first Draft of Beat Sheet Presented.

Week 5		Format: Film
		Examime standard script format and review successful spec 
                scripts and their formatting styles. 
						
		Bring: Cinematic Storytelling: Sample Script Formatting Styles. 
		See Sample Scripts on Pages: 15, 23, 51, 53, 55, 57, 65, 73, 
		75, 81,	83, 85, 87, 99, 95, 97,  99, 105, 117, 119…199

		(optional) See: The Spec Script Format Guide.
             	Student Story Ideas or Final Beat Sheets presented. .
		Beat Sheets Due.

Week 6		Developing and Dramatizing Character.                           
		Focus: Character profiles, archetypes, research and back story.  
		Creating and dramatizing character so it can be “seen.”  
		Deeping character through dialogue.

		Bring Cinematic Storytelling: Rendering Character Cinematically
		See Examples on Pages: 126-127 Harold and Maude, 152-153 The Piano, 
		160-161 (Susan) Citizen Kane; 198-199 Natural Born Killers; 202-203 
		Fatal Attraction; 224-225 Ed Wood; 228-229 Bound

		Handout: Dialog from Apocalyspe Now and Pulp Fiction. 
		Handout: Character Archetypes. 
		Student Clips.

Week 7		Character Progression, Theme and Act 2
		Connection between Character Progression and Theme
			
		Discussion on Theme as a Dramatized Argument
		Optional Reading: Dramatica Chapters 1 and 2

		Bring Cinematic Storytelling: Rendering Theme and Character 
		   Progressions Cinematically
		See Examples on Pages: 4-5 Strangers on a Train; 22-25 Disco Pigs; 
		36-37 Fargo; 86-87 The Piano; 140-141 Requiem for a Dream; 
		196-197 Apocalypse Now; 210-211 Three Women; 214-215 Barton Fink;  
		226-227 Out of Africa;
			
		Optional Reading: Screenplay Chapter 5 & 6. Story Chapter 5, 17
    		Student  clips: See topic above.  Student pages and class critique.

		Draft 1 of First 30 Scripted Pages Due (Optional).

Week 8		Topics: Genre and Plot Conventions
		Ron Tobias. Twenty Master Plots (Optional Reading)
		Screenplay Ch. 16 & 17
		Student pages and class critique. 
		Student Clips.

Week 9		Cinematic Rendering: How to write without dialog.
		Space, Frame Composition, Shape Within the Frame.
		In-Class “Cinematic” writing exercises. 
						 
		Bring Cinematic Storytelling: Chapters 1, 2, 3.  
		View Act 1 of  The Professional. Student clips.
			
Week 10		Cinematic Rendering: Writing in Scenario
		Focus: Exposition versus scenario. Editing, Time 
		In-Class “Cinematic” writing exercises

		Bring Cinematic Storytelling: 4, 5.
		View Act 2 of The Professional. 
		Student pages and Class Feedback. Reading: Story Chapter 15.
		Student clips. 
		Beat Sheet Due.
			 		
Week 11		Cinematic Rendering: Using Sound and Music and Transitions
		Focus: In-class “Cinematic” writing exercises

		Bring Cinematic Storytelling: Chapters 6, 7. 8.
		View Act 3 of The Professional.
		Student pages and Class Feedback.
		Student clips: See Above Topic

Week 12		Cinematic Storytelling: Camera Lenses, Camera Position
		Camera Motion, Lighting and Color
		Focus: How to dramatically exploit these “technical” tools 
                  without directing-the-director. 

		Bring Cinematic Storytelling: 9, 10, 11, 12, 13. 
		Student pages and class feedback.
		Student Clips. 

Week 13 	Cinematic Rendering: Exploiting Props, Wardrobe, Location 
                  and Natural Elements.
		Focus: Employing the physical world to help you tell your story. 
		Bring Cinematic Storytelling: 14, 15, 16, 17.
		Student pages and class feedback.  
		Student Clips.


Week 14		The Business of Writing
		Handouts: 
		ALL SCRIPTS DUE

Week 15 	Rewriting
		Focus: Case of China Town:
		Study three Drafts. Script Drafts are on Reserve. 
		Optional Reading: Syd Field's The Problem Solver
		Student Pages and Class feedback.
		Student Clips.
		Scripts returned. 

Week 16		Student Pages and Class Criticism.
		Student Clips.
 
		Instructional Method
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The instructional mode includes:  

1.  Class lecture and discussion.
2.  Workshop: Student presentations, written work and critiques. 
3.  Critical Analysis of scripts.
4.  Writing. 

Assignments
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Beat Sheet:  Students will complete a beatsheet for their original 3-act 
narrative.The story conflict, midpoint and two major plot points will be 
called out. The outline will also include a fully worked out resolution. 
Page length is about 4-10 pages single-spaced. 

Draft 1 Optional: Students will submit the first thirty scripted pages of 
their feature film. Draft I will be written in standard script format. This 
submission is optional. It gives students an opportunity to see how their 
work is faring in terms of grades and gives them a chance to receive early 
feedback from the instructor. 

Final Draft Required: After their in-class presentation and critique from 
both the instructor and their peers, students will rewrite Act I. They 
will submit the revised project as their Final Draft. This Final Draft is 
about 25-30 pages and written in standard script format. Students who 
choose not to submit an optional Draft 1 will simply submit a Final Draft 
only. Their script grade will be based on this submission only.   

Video Clips: Students will sign-up for a video clip presentation. Topics 
will correspond with the class lecture of that session. Students will 
deliver a brief 5-minute talk underlining what the clip teaches them as writers. 

In-class Assignments: 
These will include student critiques, student pitches and one film ‘clip’ 
presented per semester. Make sure you sign-up and get on the schedule. 
This is your responsibility. 

Readings: Though several books are required, it is up to the student to read 
the material and bring questions to class.  We will not go through the 
material by chapter by chapter. 

Evaluation
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1. Beat Sheet :							10%
2. Final Draft 							80%
3. Clip, and Student Critiques					10%	
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Adds and Drops

Students must administrate their own adds and drops.  It is the student's 
responsibility to be aware of department and college deadlines and procedures. 

Other Important Information

Students are required to keep originals of all their submitted work.  Materials 
can get lost.  This is your insurance policy. I will not keep your scripts on file. 
It is your responsibility to keep a copy of your script. 

 
Required Reading List
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1.	Field, Syd.  The Screewriter's Workbook. 0-440-58225-3,  Copies available 
            in the bookstore on campus.
2.	Van Sijll, Jennifer. Cinematic Storytelling. 

Plus

3.	Bound. Sept 28, 1994, Wachowski Brothers:  Can be ordered from 
          Script City (213) 871-0707
4.	The Professional. 1993. Luc Besson: Can be ordered from Script 
          City (213) 871-0707. 

OPTIONAL

1.	Spec Script Format: WNI, LA, CA 2000.  Copies in the Bookstore.
2.	Horton, Andrew. The Character-Centered Screenplay. 
3.	Tobias, Ron. Twenty Master Plots. Cincinatti, Ohio: Writer's 
           Digest Books, 1992.
4.	McKee, Robert. Story.  Copies in the Bookstore. 


Additional Reading List
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1. Aristotle. Aristotle's Poetics. Translated by S. H. Butcher. New York: 
      Hill and Wang,
 A Dramabook,  1961.
2. Lucey, Paul. Story Sense. New York: McGraw-Hill, 1996.
3. Mehring, Margaret. The Screenplay.  Stoneham, MA: Focal Press, 1990.
4. Miller, William. Writing for Narrative Film and Television. New York: 
     Hastings House, 1980.
7. Vogler, Chris. The Writer's Journey. Los Angeles, Michael Wiese 
     Productions, 1992

Published Screenplays

1. Thomas, Sam.  Best American Screenplays 1. New York: Crown,  1990.	
2. ___________   Best American Screenplays 2. New York: Crown,  1990.
5. Henderson, Brian. Five Screenplays by Preston Sturges. Berkeley: 
      U. of Calif. 1985.

Websites

www. Drewsscriptorama.com				www.moviebytes.com
www.dailyscript.com					www.imdb.com