JAN 23
The Heart of Drama
In which we discuss want, need, desire, and the major dramatic question
Homework: In prose, write the story of the screenplay you want to develop in this workshop. You must be able to tell the story from the beginning to the end in one page (300 words).
JAN 30
Developing the Protagonist
In which we define and review methods for developing compelling, memorable protagonists. We will also discuss multiple protagonists, passive protagonists, and the Bio-pic.
Homework: Please read The Verdict (David Mamet) and be prepared to discuss screenplay in next week’s workshop.
FEB 6
The Elements of Structure
In which we define and discuss the inciting incident, major and minor plot points, midpoint, crisis, climax, and scene sequences for traditional and non-traditional screenplays
Homework: Break your story into 10-15 scene sequences. In prose, write 1 paragraph about each sequence, being sure to highlight the key characters and dramatic actions. Maximum word count: 1200 words (approx 5 pages)
FEB 13
Supporting Characters
In which we explore the forms and function of non-protagonist characters (i.e., antagonist, love interest, friend, ally, background) and their relationship to the protagonist
Homework: Write a love letter to your antagonist.
FEB 20
Subplot
In which we examine the subplot as a means for developing character, conflict, and theme
FEB 27
The Scene
In which we look at the anatomy of a scene. Dramatic arc, opposing objectives, compression, and "stacking" will be discussed.
Homework: Please read TK and be prepared to discuss screenplay in next week’s workshop.
MAR 5
Thinking Visually
In which we fully explore the term “moving pictures.” We will look at how visuals are used to establish POV (both literal and thematic), advance time, communicate character, develop tropes, and set and manipulate audience expectations
Homework: Rewrite one of your dialogue-heavy scenes or scene sequences using only visuals. Please submit both the original scene and the revised scene.
MAR 12
The Art of Cinematic Dialogue
In which we define cinematic dialogue and evaluate how it differs from—and is similar to—real dialogue. We will also look at a range of dialogue styles.
Homework: Please read Traffic (Stephen Gaghan) for next week’s class and be prepared to discuss screenplay in next week’s workshop
MAR 19
Atmosphere, Tone, and Theme
In which we look at ways of establishing atmosphere, and the subtleties of tone and theme
MAR 26
Revision
In which we review the art—and importance of—effective revision
Homework:
1) Begin rewrites on Pages 1-10 of your screenplay. Rewrites due on last day of class.
2) Assemble cast for April 9 readings. You may cast each other or use non-workshop actors
APR 2
The Literary Screenplay
Before a screenplay becomes a movie, it is something that gets read. In addition to the nuts and bolts of formatting, we will look at improving your screenplay’s readability to prepare it for the marketplace.
Homework:
1) Continue rewrites on Pages 1-10 of your screenplay. Pay particular attention to your action lines. Rewrites due next week.
2) Rehearse for April 9 readings. You’re the director—think about how you want your actors to communicate their desires/motivation. Have you written characters that actors will want to play? How can you incorporate their feedback?
APR 9
On Its Feet
In which we do a staged reading of the first 10 pages of your screenplays. You will be responsible for casting and directing your work in advance of this session. You may invite audience members and solicit feedback
*NOTE: All homework assignments are in addition to the work you will be doing on your outlines and screenplays, as well as the feedback you are expected to provide your peers.
