CMS 370A: Basic Screenwriting (Version 01/05/2017)
Professor: Shawn Wong
Office: B423 Padelford Hall
Office Hours: Mondays and Wednesdays 12-2, or by appointment
Phone: (206) 616-0941
This is a screenwriting class, which means that the bulk of the responsibility for the success of this class is based on the writing you produce for the class and your critique of the writing done by your classmates.
The goal of the class is to prepare you for more independent writing and self-critique. The focus on the writing is centered more on revision, editing, adaptation of an existing fictional story and understanding the craft of the screenwriting.
The course is divided into four major areas: Story, Character, Dialogue and Structure.
Invisible Ink: A Practical Guide to Building Stories That Resonate by Brian McDonald (pdf copy will be provided)
Selected screenplays available at: http://www.imsdb.com/
Course Writing Requirements:
- Adaptation of a short story into a screenplay (written in collaborative writing teams of three or four students), which includes a synopsis, a step outline, and two drafts of a screenplay.
- You are required to post comments on all the screenplays on the course Catalyst Go Post site (except your own screenplay).
- You are required to submit an evaluation of your group collaboration at the end of the course on the course Catalyst WebQ site. All your comments will be confidential. I will be the only one reading them.
- You are also required to work in collaborative writing teams. Failure to show up to work sessions with your group or missing deadlines established by your writing group can affect your grade.
60% of your grade is based on completing the writing assignments and completing the reading for the class.
20% of your grade is based on participating in class/section discussion, work sessions, and completing the Catalyst Go Post comments.
10% of your grade is based on the evaluation of your collaboration with your group on Catalyst WebQ.
10% of your grade is based on the quality, effort, and originality of your writing.
No grades are given out during the quarter.
Meeting the basic requirements of the class (completion of all assignments, participation in class and in writing lab groups, completion of the required reading) will yield a minimum final grade of 3.0. A final grade above 3.0 will be based on the quality of your writing. It is possible for individual members in a writing group to receive different grades.
How do I grade myself during the course?
- Am I a better writer at the end of the course?
- Was I an effective co-writer and collaborator?
- Did I meet all deadlines?
- Did I take a fair share of the workload in my writing group?
- Did I make substantive revisions to early drafts of the screenplay synopsis and screenplay?
- Were the assignments I gave myself harder than the assignments required for the course? In other words, did I challenge myself to be a better writer?
- Did I proofread my work before turning it in?
- Download script writing software from celtx.com (it’s free): celtx.com.
- All scripts should be in .pdf format (celtx converts it automatically for you).
- When turning in your work use the course Catalyst Collect It dropbox. Celtx automatically inserts the correct font, page numbers, etc. Be sure to fill out the title page information for your Celtx script.
- Try to pick a story to adapt that is a complex, multi-layered character driven story, rather than action driven (meaning little dialogue is required), or bodice ripping gothic romance (lots of sighing and pining for your heartthrob), or pure fantasy (no unicorns), or talking animals.
- The following stories can no longer be used for adaptation: “A Good Man is Hard to Find” by Flannery O’Connor, “A Bullet in the Brain” by Tobias Wolff, “A Perfect Day for Banana Fish” by J.D. Salinger, “The Yellowpaper” by Charlotte Perkins Gilman, “How to Tell a True War Story” by Tim O’Brien, “The Rocket Man” by Ray Bradbury, “What We Talk About When We Talk About Love,” by Raymond Carver, and any Edgar Allen Poe story.
- Proofread, proofread, proofread.
Invisible Ink is a very short book. You should read it more than once and refer to it often during the writing of your screenplays. Keep reminding yourself of the story rules the book cites.
By January 9 read: Chapters 1, 2 & 3
By January 17 read: Chapters 4, 5, & 6
By January 23 read: Chapters 7, 8, 9 & 10
Exam and Assignment Schedule:
Jan. 9: Start selection process for a short story to adapt.
Jan 11: Your group should select a short story to adapt.
Jan 23: Assignment #1 due: short film script based on a Craigslist ad
Jan. 27: Film treatment & Step Outline on adaptation due
Feb. 3: First draft of screenplay adaptation due
March 13: Final drafts of screenplay due by 5:00 in Catalyst CollectIt dropbox
Course Catalyst Sites:
NOTE: Catalyst GoPost and WebQ sites will open later in the quarter.
Catalyst Collect It: For all assignments, revisions, group screenplays
Catalyst Common View: Course reader with assigned reading, short stories for adaptation, and screenplays:
Catalyst Go Post: Use this site for entering comments on all screenplays
Catalyst WebQ: Use this site for your group evaluation (all responses are confidential):
Part 1: Story
Jan. 4: The Girl in the Café & other film clips
Course outline and goals
Selecting a short story
Writing lab sections
Jan. 9: Theme, premise, log line, etc.
The short film: “Apricot” by Ben Briand
Demonstration of celtx screenplay software.
Screenplay databases (imsdb.com)
Examples of screenplays
How to read a screenplay
Name your production company
Jan. 11: Thinking visually in a visual medium
The Poem as film & Craigslist ad as story
Jan. 16: Holiday
Part 2: Character
Jan. 18: Character motivation & function
Jan. 23: Writing a Treatment
Writing a Step Outline
Jan. 25: Actors in character
Jan. 30: In-class group work
Feb. 1: Exam #1 & in-class group work
Part 3: Dialogue
Feb. 6: Discussion of Dialogue: Real Conversation vs. Realistic Conversation
Feb. 8: In class work session
Part 4: Structure
Feb. 13: Discussion of structure and the three-Act screenplay
Feb. 15: Rehearsals and group read through and work session
Feb. 20: Holiday
Table Reading Schedule: Drafts of scripts to be read are due five days before your group is scheduled to read.
Feb. 22: Screenplay reading & critique
Feb. 27: Screenplay readings & critique
March 1: Screenplay readings & critique
March 6: Screenplay readings & critique
March 8: Screenplay readings & critique