Brass Brads Screenwriters' Workshop

Summer 2009

2009-04-24T10:12:00.001-07:00

The Fundamentals of Craft
This 10-week workshop for beginning and intermediate screenwriters identifes and explores the fundamentals of writing a compelling screenplay, including the 5 key questions to dramatic writing, creating multi-dimensional protagonists and antagonists, and the foundations of dramatic structure from the level of story to scene. Classes will consist of lectures, in-class writing exercises, and out-of-class readings and creative assignments. By the end of this workshop, you will know how to tell a story like a true dramatist. (It's both easier and harder than you think!) $875.

Script Analysis
This six-week workshop examines traditional and alternative storytelling structures featured in mainstream and independent films. Students learn to identify the five key components of dramatic storytelling, define causal relationships within the dramatic action, see how a dramatic character develops internally and externally, and enhance their understanding of visual language and dramatic dialogue. Students will read screenplays, view films, and complete analytic and creative assignments toward these aims. Assigned reading may include The Verdict (David Mamet); American Beauty (Alan Ball), Taxi Driver (Paul Schrader), and sex, lies, and videotape (Steven Soderbergh). $665.

Four-Day Intensive
This rigorous four-day workshop is geared for beginning+ screenwriters/directors/producers who want to quickly develop a firm understanding of dramatic storytelling or advanced screenwriters who want to sharpen their dramatic storytelling skills and/or jumpstart a creative project. This workshop is not for the faint-hearted. The four six-hour days--comprised of lectures, in-class and out-of-class writing exercises, readings, and in-depth script analysis--are hard, but effective. $1125.

course description (for advanced screenwriting class)

2009-01-31T07:52:00.000-08:00

This six-week class is for advanced screenwriters with a completed or in-progress feature-length script or treatment. Every week will be devoted to the workshopping of participants' material (students will be required to submit their work one week in advance of their workshop session). These scripts will be used as the basis for in-class discussions led by the instructor. We will meet every week for six weeks.

course description (for 12-week workshop)

2009-01-30T18:19:00.000-08:00

The 12-week workshop for beginning and intermediate screenwriters will explore the fundamentals of the traditional three-act structure; present successful non-traditional storytelling structures for the cinema; and, among other craft elements, train writers to develop their protagonists, antagonists and supporting characters, think visually, write effective screen dialogue, create atmosphere, employ subplot, and revise effectively. The business of screenwriting will also be discussed.

Each session will begin with a lecture on craft, which will be supplemented by in-class writing exercises and excerpts from professional screenplays.

The second portion of each session will be dedicated to workshopping participants' works-in-progress.

You don't need to have prior screenwriting experience, but you should have an idea for a feature-length screenplay that you want to develop.

time and place

2009-01-05T18:26:00.000-08:00

The next workshop will be a 6-week workshop for advanced screenwriters.

Tuesdays 8:30-10:00pm

Februay 3-March 10, 2009

at
The Players' Theatre

115 MacDougal St
Greenwich Village, NYC

workshop fee

2009-01-04T18:51:00.000-08:00

The cost of the 12-week workshop is $875. The cost of the 6-week Advanced Screenwriting Class is $675 ($50 discount for students who enrolled in previous workshop). Payment is due on or before the first day of class.

For independent script consultations, the fee for non-professionals is $725. (Script consultations for professional writers, producers, and production companies to be discussed.)

instructor bio

2009-01-03T18:23:00.000-08:00

Jessie Keyt is a professional screenwriter and script consultant whose latest project, Skin, starring Sophie Okonedo, Sam Neill, and Alice Krige, launched at the Toronto International Film Festival in 2008 and will be distributed by BBC Films in 2009. She has won numerous awards for her narrative prose, stage plays, and screenplays, including a development grant from Euroscript/MEDIA II, a residency at the International Writers’ Workshop in Havana, Cuba, and first prize in the New Millennium Writings creative nonfiction category. She holds an MFA in dramatic writing from NYU’s Tisch School of the Arts and a BA from Dartmouth College. She teaches screenwriting, playwriting, and script analysis at NYU's Tisch School of the Arts and The New School, where she ranked among the 'very top tier' of University faculty. She founded Brass Brads in 2008 at the request of her former students.

testimonials

2009-01-02T18:53:00.000-08:00

"I already had had a full career as a news reporter, editor and publisher when I turned my skills to screenwriting. Jessie showed me how to move beyond the common mistakes made by first-time scriptwriters (plots that don’t develop meaningfully, multiple characters that fill the same purpose, manufactured conflict, anemic dialogue and clichéd resolutions) in order to reach a level of visual storytelling that, layer by layer, exposes the truth of human desire and failing."

"From the perspective of curriculum, Jessie deftly explains and illustrates the concepts of dramatic story structure, of refining character arc from the inside out, of plotting relationships so those conflicts support and give momentum to the whole and of using the visual format of film to a script’s advantage. But her talent as a teacher goes far beyond this. More important and specific to Jessie is the way she ensures her students incorporate this craftsmanship into their own storytelling and onto the page. She shepherds us along by showing us how to salvage what is good in a draft, by informing us on not only what to rethink but also how to rethink, by recommending specific films within our genre so that we can see how another writer handles a similar conflict and by encouraging us to be free in our creativity as well as ruthless in our revisions. She approaches our work from all angles, and she does this with great sensitivity, respect and humor. The result is tangible progress, draft to draft."

-Jennifer R., NYC

"I very much enjoyed the class and you're by far the best writing teacher I've ever had. I have to admit that I was intimidated about trying to write a feature-length screenplay but have wanted to do it for a long time. You helped me break through the fear and now, for the first time, it genuinely feels doable. What a relief! On top of that big and exciting step, I feel like you've really helped me improve and fine tune my work at the same time. And, it seems that you were able to do that for everyone, which is impressive and takes a lot of work on your part -- more work than many professors are willing to put in to their classes. It felt like you were willing to match whatever level of effort we were able to put in and to meet us where we were -- while encouraging each of our unique voices."

-Julie C., NYC

sample syllabus (for 12-week workshop)

2009-01-01T20:22:00.000-08:00

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.

week one lecture notes (for 12-week workshop)

2009-01-01T20:15:00.000-08:00

Week One: The Heart of Drama

In-class writing exercise:
1. Try to recall one of the things you wanted most in life. This thing should be specific, concrete, and tangible (i.e., a gift, a sibling, a trip to Disneyland). It can be something you wanted as a child, or something you wanted as recently as a few years ago. Once you’ve thought of that one thing, spend 5 minutes describing it clearly and specifically.
2. Now, because a want is all the more urgent the longer it’s delayed, spend 5 minutes describing the obstacles to this want, what got in the way?
3. At the root of this concrete tangible want, there is something else, something that is often more abstract, more emotionally driven, and may be only tangentially related to your want. What was that deeper desire that lay at the root of your want? Spend about 5 minutes writing about that deeper desire. Where did it come from? Why was this ‘thing’ the chosen externalization of that desire? Were there other wants that this desire led to as well?
4. Now, go even deeper (and this next aspect can usually only be answered once you’ve gained some perspective, have had some growth, a “character arc” shall we say), and that is to try to define the need that led to that deeper desire. What is it that, in hindsight, you really needed?

Lecture: Want, Desire and the MDQ
The three concepts that tend to confuse beginning screenwriters the most are: “want” (a.k.a. “goal”), “MDQ” (a.k.a. “major dramatic question”) and “deeper desire” (a.k.a. “emotional stake”):

WANT (a.k.a. GOAL): a protagonist’s actions must focus on a single, overarching goal that the protagonist desires fiercely and pursues throughout the story; once that goal is achieved—or not—the story is over; the goal should be tangible, specific and external
· e.g., Gone With the Wind, What does Scarlett want? Ashley Wilkes
· e.g., Taxi Driver, What does Travis Bickle want? Betsy.
· e.g., Rocky, What does Rocky want? To do well in the big fight.
Though there’s obviously a lot more going on for all these characters, that is what we’re watching them pursue; once that pursuit is over, the story ends; Also, a protagonist’s want isn’t always as immediately identifiable as these, but the point is that in these screenplays, the characters are motivated by some concrete, specific, tangible want.

MDQ (a.k.a. “major dramatic question”): the articulation of that goal as a yes/no question.
· e.g., Will Scarlett win Ashley?
· e.g., Will Travis win Betsy?
· e.g., Will Rocky do well in the big fight?

DEEPER DESIRE: this is more abstract and internal; it is often the emotional root of the external goal and signals what is really at stake for the protagonist
· e.g. Scarlett’s deeper desire is to be assured of her place in her world as the Southern belle, to have dominion over a world that is only as complicated as a cotillion ball and who is master of her destiny (think about that opening scene, she’s literally holding court with a group of admirers at her feet)
· e.g., Though some might disagree, I think Travis Bickle’s deeper desire is to actually be accepted by mainstream society, to be legitimized (look at the lies he tells his parents in the letter he writes them, it’s a fantasy life; also, his attempts to “be like other couples” when he takes Betsy to the “nice” porno)
· e.g., Dorothy (Wizard of Oz) wants to be free, to have more autonomy, to be like one of the birds who can fly over the rainbow (that “I want” song in musicals)

SOME IMPORTANT POINTS:
1) The resulting film will be very different depending on how visible you make that deeper desire. For example, in many plot-driven films, the deeper desire beneath the want is almost invisible to the audience, whereas character-driven films tend to make the deeper desire more visible to the audience—with very different results. Think about a young man who grew up wanting to go to the Amazon. There could be a million reasons why. Perhaps he’s driven by a conservation streak, or he was watching a TV show about the Amazon when his father walked out. Maybe he’s in search of a lost culture…or a big woman. Whatever it is that’s driving him toward his want will change the nature of his quest/journey. Also, if the emotional root is very visible and up front, that’s going to be a very different movie than one where the emotional root is held back…if revealed at all.
2) As the writer, you have to know what that deeper desire is, even if your audience doesn’t know. It will make your character more complex, interesting, three-dimensional—and it will ultimately make the screenplay easier to write, because you’ll be able to draw on more source material.
3) Even in a film where the “want” leans toward the internal/abstract (e.g., in character-driven films, the goal often IS the deeper desire), you still have to find ways to externalize that want via tangible objects of desire.
· e.g., in Sideways, Miles is a failure—divorced, thankless job—his deep desire is to have success at something—anything, so we see him pursue Maya, the waitress, and his book deal. He doesn’t pursue these doggedly—in fact, he’s his own worst enemy, but they are tangible goals

This idea of want/deeper desire/MDQ doesn’t just exist in movies. You’ll find it in stageplays, novels, short stories, news articles, documentaries, song lyrics, and even poems. This want is the heart of drama. This want and the obstacles to this want...

...which brings us to the 5 key questions at the root of dramatic writing:
1. WHO is the story about? (a.k.a. protagonist)
2. WHAT does he/she want? (articulated as an MDQ)
3. WHAT gets in his way? (a.k.a. conflict/obstacles)
4. HOW does he/she conquer obstacles? (a.k.a. resolution)
5. How does the character CHANGE?* (a.k.a. character arc) (*sometimes the character doesn’t change…they are doomed to repeat the same mistake over and over, and that is the screenwriter’s point)

Whenever you’re stuck, whether with the story, a scene or a piece of dialogue, try to answer these 5 questions. Once you’ve pinned down the answers, you’ll start to get “unstuck.”

Handout:
WGA list of 101 Greatest Screenplays

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).

85 Questions to Ask Your Protagonist

2009-01-01T20:03:00.000-08:00

1. Age
2. Occupation
3. Sexuality
4. Race
5. Nationality
6. What name they use when introducing themselves
7. Favorite Color
8. Star sign
9. ‘Handle’ (CB/email)
10. No. of siblings
11. Are they all still alive? If so, what are they doing now? If not, how’d they die?
12. Parents’ names, ages, and occupations
13. Are the parents still alive?
14. Place of birth
15. Nickname parents called them when they were growing up
16. Worst name they were called on the playground
17. Their first word
18. Worst thing they ever did as a kid? As an adult?
19. Favorite food
20. Favorite drink
21. Coffee or tea? How do they take it?
22. A smoker (past or present)? If so, what kind?
23. Drugs (past or present)? If so, which ones? How often?
24. When did they lose their virginity?
25. To whom?
26. How did they respond to the experience?
27. Do they do sports? Which ones?
28. Are they in therapy? For what? Is it working?
29. Favorite poet/poem?
30. Favorite author?
31. Favorite musician?
32. Favorite musician when they were in high school?
33. The first music they ever bought themselves?
34. Have they ever been arrested? For what?
35. Did they go to college? If so, where? What did they study? GPA?
36. What is their fantasy vacation?
37. What are you most likely to find in their refrigerator?
38. What are you most likely to find in their medicine cabinet?
39. What is the secret they’ve never told anyone?
40. Do they lie? Big or little?
41. Single or in a relationship?
42. If in a relationship, do they love their partner? Like their partner?
43. Any children? Any possibility of children they don’t know about?
44. Annual income.
45. Kinkiest fantasy?
46. What are you most likely to find them wearing on a Saturday?
47. Would they wear real fur?
48. Vegetarian?
49. Religion?
50. Long or short hair? Dyed or natural?
51. What is the very first thing they do when they get up in the morning?
52. And the last before they go to bed?
53. What was the last conversation they had with their mother about?
54. When they were a kid, what did they want to be when they grew up?
55. Were they ever fat?
56. Do they shave? What body parts?
57. How many places have they lived in their life? Name them.
58. Favorite celebrity?
59. Describe a perfect day off
60. Have they ever had an affair? For how long? Were they caught?
61. Favorite plant or flower?
62. Charity of choice?
63. Do they volunteer?
64. Nervous tics or gestures?
65. What was the last conversation they had with their father about?
66. Have they ever contemplated suicide? If so, how seriously?
67. Favorite artist?
68. Favorite fairy tale?
69. Do they or did they ever play an instrument? Which one(s)?
70. Favorite movie?
71. What kind of an animal are they most like? Why?
72. List 5 guilty pleasures.
73. Mild or spicy hot sauce?
74. If their house was burning and they only had time to grab 3 things, what would they grab?
75. Who was the last person they wrote a real letter to? What was it about?
76. Their biggest regret.
77. Their biggest victory
78. Do they wear a watch?
79. Do they have a car? If so, what kind?
80. What would they want people to say about them at their funeral? What would people actually say?
81. Would they lay down their life for anyone? If so, whom?
82. Do they gamble?
83. If a stranger came up and punched them in the gut, what would they do?
84. List 5 things they would change about their life.
85. List 5 things they wouldn’t change about their life. Of those five, which is the most important to them?

discussion forum

2009-01-01T20:02:00.000-08:00

This is an open discussion room. Feel free to ask any questions/thoughts relating to the workshop or screenwriting, and I will do my best to respond in a timely manner.

contact me

2009-01-01T20:01:00.000-08:00

For further information about this workshop, or to ask about script consultations, please feel free to e-mail me. Thank you.