Screenwriting Curriculum

 

You will learn how to write and complete a full-length, feature film screenplay. You will have a finished script in hand at the end of the course.

Workshop Contents:

Understand the various elements of Screenplay Writing and their Fundamentals through interactive lectures, screenings, writing exercises and a step by step development of a Story Idea into full Screenplay for a 10-minute short film.

• Story:
  What are the elements of a good story? How does it keep you hooked to the narrative? Story is Universal.
• Idea:
  What is the origin of ideas? How does a writer develop his ideas?
  How to break down your own idea to understand its scope and nature?
• Character:
  How to detail out characters? What all do I need to know about my character? Where do memorable characters come from?
• Plot:
  What are the events in the story? How are they tied together? Do I need subplots?
  Is Plot married to the climax?
• Conflict:
  How do I find conflict? What creates a rich Conflict? Where to look for it?
• Structure:
  Do I need to adhere to some structure? What are the prescribed structure patterns?
  Three Act structure: Why?
• Scenes & Sequences:
  What is the basic unit of screenwriting? How to write a scene?
  How to write a sequence and place it in the story?
• Treatment:
  What does treatment mean? How does it change the story?
• Writing a Screenplay: The 1st Draft
  What is a Step Outline? Writing a Screenplay with cinematic elements?
  Just the right language: what is it?
• Writing the 2nd Draft

This workshop covers basics, and some specialized dimensions of screenwriting:

• One day of the basics of screenwriting. Thinking up PLOTS, discovering interesting, credible, empathetic CHARACTERS that breathe life into the plot. Giving an appropriate STRUCTURE to the screenplay. All this with the reference of great examples.

• One day dedicated to SCENE DESIGN & DIALOGUE. With the best story and the most wonderful characters, your script can fail if your scenes are flat and your dialogue unnatural. We look at wonderful scenes to learn how to write them.

• Half day of discussion on MYTHOLOGY, and how our two epics continue to influence modern Indian screenwriting.

• Half day dedicated to Joseph Campbell’s ‘HERO’S JOURNEY’ which offers a rich insight into the underlying structures and rhythms of all storytelling.

• And another half day on ADAPTATION – how to create strong screenplays from existing sources like novels, stories, plays. Again with reference to good examples.

 

 

SEMESTER ONE OVERVIEW

Screenwriters are cinematic storytellers. The genesis of any film project is an idea or concept that must be fleshed out into a fully formed screenplay deemed worthy of production. During Semester One, students are introduced to the screenwriter's tools, and develop the skills necessary for writing. Students are encouraged to be creative, but are also taught to think of the screenplay as a tool—the definitive industry tool-- used to articulate an idea or concept to a production team, including producers, financiers, directors, and actors. Standard formatting and industry expectations are studied and analyzed during writing workshops and lectures.

SEMESTER ONE OBJECTIVES

LEARNING GOALS

·         WGA format and copyright law.

·         In depth study of classic screenplay structure, character arcs, theme, conflict, flashbacks, voiceover, subtext, style, tone, visualization, discipline, and genre.

·         Critical concepts in film history.

·         Theory and practice of acting to understand good dialogue and appropriate behavior.

WRITING GOALS

·         Write a treatment for a feature length film.

·         Write an outline for a feature length film.

·         Write a first draft of a speculative (“spec”) feature length screenplay.

SEMESTER TWO OVERVIEW

The second semester challenges students to develop their craft artistically and technically, and to progress beyond their earlier experiments with the feature length screenplay. In an advanced workshop, students may choose between revising the screenplay draft written in the first semester or they may begin writing a new feature length screenplay. Students are expected to share revised or newly written material in workshops. During Semester Two, students broaden their understanding of the medium and develop additional material for television.

SEMESTER TWO OBJECTIVES

LEARNING GOALS

·         Fundamentals of film directing.

·         In depth look at treatment writing.

·         In depth study of the pitch.

·         Standard conventions of TV writing.

WRITING GOALS

·         Revise draft of "spec" or write a new "spec" script.

·         Direct a short film or scene.

·         Write and perform a pitch.

SEMESTER ONE OBJECTIVES

During semester one, students will be introduced to the tools and skills necessary for writing successful screenplays for both film and television. Students are encouraged to be creative, but are also taught to think of the screenplay as the definitive industry tool for articulating ideas or concepts to a production team -- including producers, financiers, directors, and actors. Clarity can be as important as creativity. Standard formatting and industry expectations will be studied and analyzed during writing workshops and lectures. Students will study what makes for a good story and learn to seek stories in the world around them. Introduction to Film will also provide students with both theoretical and practical perspectives on the film industry.

CLASSES AND LEARNING GOALS
In semester one, students take:

·         Elements of Screenwriting, where they learn the tools of writing from format, to pacing, to dialogue, to theme, and put that all together to write a script for a short film.

·         Writing The Television Spec, where they write “spec” episodes of existing television series of both hour-long and half-hour formats.

·         Story Generation, where they learn where to find inspiration for stories and how to develop a story idea into a detailed treatment for a feature film.

·         Writing The Feature Film Screenplay I, where they loosely plot and write a screenplay for a feature-length film.

·         Intro To Film, where they study the history and components of film as a medium.

PORTFOLIO OF WRITINGS FOR SEMESTER ONE
At the end of semester one, students will have produced:

·         A feature-length film screenplay.

·         A one-hour television drama spec script OR a half-hour television comedy spec script.

·         Short treatments for two possible feature-length films.

·         A script for a short film (3-5 minutes).

SEMESTER TWO OBJECTIVES

The second semester challenges students to develop their craft artistically and technically, and to progress beyond their first projects in both film and television. In an advanced workshop, students will do a detailed breakdown and then write a second original script. They will then learn the basics on how to compile notes and plan a rewrite. Students are expected to share revised or newly written material in workshops. In addition, students will broaden their understanding of the medium of television by developing material for an original TV series pilot script. Students will rewrite the short script they wrote in the first semester. They will then study acting techniques and direct and edit their own short film, in order to achieve a better understanding of how the written word translates to the screen. Students will also study the business of screenwriting, and how to navigate the entertainment industry. In Genre & Storytelling, students will explore the conventions and expectations of genre storytelling.

CLASSES AND LEARNING GOALS
In semester two, students take:

·         Genre & Storytelling, where they learn the tropes and expectations that come with writing a feature film in several classic Hollywood genres.

·         Writing The Feature Film Screenplay II, where they plot a feature film story in great detail before writing the screenplay and discuss strategies for rewriting the scripts they’ve developed.

·         Writing The Television Pilot, where they create an idea for an original TV series, create a proposal for it and write the script for the pilot episode.

·         Script To Screen, where they study acting, directing, and editing; act in a scene shot on the Universal backlot; and direct and edit their own short film, based off the short script they wrote in semester one.

·         The Business Of Screenwriting I, where students learn about the entertainment industry and research possible internships for future semesters.

PORTFOLIO OF WRITINGS AND PRODUCED WORK FOR SEMESTER TWO
At the end of semester two, students will have produced:

·         A second original screenplay.

·         A digital short film.

·         A pilot script and a series proposal/bible for an original television series.

·         A short proposal for an additional television series.

SEMESTER THREE OBJECTIVES

At the beginning of semester three, students will choose a Screenwriting faculty advisor. This advisor will work with the AFA candidate’s instructor and the Chair of the Screenwriting Department, and help the student develop the story for their final project (which they will write in semester four). Semester three classes are infused with an emphasis on perfecting craft and exposing students to the realities of the entertainment industry. Students will work more in-depth with character and story development, focusing on how to plan a story. They will also learn the art and craft of adaptation.

CLASSES AND LEARNING GOALS
In semester three, students take:

·         Story & Character Development, where students study techniques for building characters, arcs, and relationships, and put them to use in developing their final project for the program.

·         Screenwriting Discipline & Methodology, where students develop skills in setting goals and managing their time and career.

·         The Great Playwrights, where students study the history of theater and some of the great writers of stage plays.

·         Art, Culture & Society, where students look at the role of art and artists in society.

PORTFOLIO OF WRITINGS AND WORK FOR SEMESTER THREE
At the end of semester three, students will have produced:

·         An outline for a feature screenplay OR a proposal for an original TV series and a beat sheet for the pilot episode.

·         A career plan.

SEMESTER FOUR OBJECTIVES

In semester four, students write the script they developed last semester. The script’s development was shaped by notes from the development committee and that process will continue in their final semester. After completing the draft, students will develop a plan for a rewrite based on the notes they receive. This process will teach students how to work in development with producers and executives. Students will also be given an introduction to transmedia and new media, learning about web series, comic books, and game design. Finally, students will perfect short pitches for their thesis projects and other story ideas.

CLASSES AND LEARNING GOALS
In semester four, students take:

·         Advanced Writing Workshop, where they write their final project for the program, delivering a first draft and a plan for rewriting based on development notes.

·         The Art Of The Pitch, where they learn how to pitch their stories and story ideas.

·         Adaptation, where they learn the skills needed to adapt non-cinematic source material (books, comics, life rights, magazine articles, and more) into stories for feature films.

·         Playwriting, where they write a short play.

·         The Great Screenplays, where they study award-winning or nominated screenplays from the last 100 years, and compare them to the finished films.

PORTFOLIO OF WRITINGS AND PRODUCED WORK FOR SEMESTER FOUR
At the end of semester four, students will have produced:

·         A first draft and revision of their thesis feature or TV pilot.

·         A one-act play or a short play.

Intro to Screenwriting for Films

Screenplays are the starting point for any film - small or large. From seasoned writers to beginners wanting to dip their toes, this course covers the fundamentals foundation of screenwriting, concepts and tips from professional & award-winning screenwriter Edward Santiago.  

Edward was born in New Jersey and raised in Puerto Rico. He holds an MFA in Creative Writing and a BS in Radio-TV Communications. His award-winning screenplays have been featured in festivals such as: Austin Revolution Film Festival, PAGE International Awards, HollyShorts Short Script Contest, Royal Wolf Film Awards, Screencraft.org Short Script Contest, Oaxaca Film Festival, Carnegie Screenwriters Group Film Festival, Rahway Film Festival 2017, and Shriekfest.

Over the course of 8 weeks, students will learn both the technical and creative process of writing their own screenplay and all of the ins and outs of the writing process, including best practices and important conventions.

This course will cover the conventions of sac genre for both film and television. Upon completion of the course each student will have finished their very own short screenplay. 

Topics covered include but are not limited to:

• fundamentals of screenwriting
• formatting a screenplay
• character development
• three act plot structure
• pacing
• revision process through table readings & feedback

Students will receive a reminder email one business days before the class begins containing all information to access their virtual classroom and their teacher contact. Students must have access to high speed internet and a computer to complete this course. All additional software recommendations will be provided by Austin School of Film.

This course is 8 weeks for a total of 24 hours of learning time.

SUMMER 2021 SCHEDULE: June 29 - August 17, 2021 (Tuesdays)  / 6-9pm (Central Standard Time) / VIRTUAL / 8 weeks

FALL 2021 SCHEDULE: September 14 - November 9, 2021 (Tuesdays)  / 6:30-9:30pm (Central Standard Time) / In Studio / 8 weeks

CHEDULE:

WHO SHOULD ATTEND: Anyone who wants to learn the art of screenwriting, attain a valuable skillset in writing for film and those working towards completing Austin School of Film’s Digital Video Certificate Program coursework.

PRE-REQUISITES: All levels welcome. This class is structured to guide students from beginning stages of screenwriting craft to completion of their own screenplay. Students must be at least 18 years old to take this class.

CERTIFICATE: ASoF Digital Video Certificate elective class

This course and all ASoF courses are certified with the Texas Education Agency (TEA) to provide Continue Professional Educational (CPE) credits.

Learning Outcomes

Screenwriting, students will gain competence in the following areas:

·       Demonstrate competency with industry standard writing style and presentation. 

·       Identify, create and write fully dimensional, complex, and dynamic characters.

·       Write screenplays that demonstrate a distinctive personal voice in a variety of formats and genres.

·       Write short and feature length screenplays which demonstrate effective storytelling craft and narrative structure for a variety of genres.

·       Apply the theoretical concepts to the creation of distinctive and original screenplays.

 

 

Television Writing, students will gain competence in the following areas:

 

·       Demonstrate the mastery of narrative television storytelling skills including construction of an original, clear and cogent central dramatic concept, employment of effective dramatic structure, and creation of authentic characters vividly drawn through their dialogue and action.

·       Demonstrate mastery of producing and leadership skills including effective oral and written communication, strong ability to organize and prioritize tasks, and collaborative skills.

·       Demonstrate the ability to analyze current TV market conditions and business models and then evaluate the marketability and viability of their skills and creative work within the available markets.

·       Experience close, mentoring relationships with faculty delivered via coursework in and out of the classroom. This personalized learning experience will help enable students to demonstrate their ability to work in a professional, collaborative environment appropriate to narrative television.

 

 Program Details

The Master Screenwriting is a two-year (including one summer), 45-hour program designed for creative individuals with a strong commitment to storytelling for the screen. The program provides a foundation of narrative skills that enables writers to succeed in both film and television, in either the Hollywood or independent arenas. Only seven students are admitted each year, a number that optimizes the workshop environment and makes it possible to provide maximum guidance. Students graduate with polished feature film screenplays, original TV pilots, TV spec scripts, and the tools to be a working professional screenwriter. 

Upon entering the program, students are introduced to the principles of writing for the screen, focusing on characterization, story development and narrative structure. Students leave the program with three original feature-length screenplays that have undergone significant revision. Students also do extensive work in television, writing specs of existing TV shows as well as original pilots. In addition to their core writing workshops, students enroll in required courses in Film History, Production for Writers, and Adaptation. During their final semester, M.F.A. candidates work one-on-one with a senior faculty member on their thesis project, leaving the program with polished work suitable for submission to agents, producers, studios and other financing entities. Degree requirements include a written report describing and analyzing the creative development of the thesis script.

In addition to writing courses, students are encouraged to use their electives to broaden their critical knowledge and filmmaking experience via the department's film studies and production offerings. The department strongly encourages collaboration between its student screenwriters and filmmakers, which has resulted in award-winning films screening at major festivals worldwide. An internship in the film industry is required as part of the program of work.

Required Course Descriptions

THEORY AND HISTORY OF CINEMA AND ELECTRONIC MEDIA (3)
Prerequisite: Graduate status. Survey of the history of cinema/electronic media and cinema and electronic media theory and criticism from the silent era through the fifties.

CONTEMPORARY FILM ANALYSIS (3)
Prerequisite: Exploration of screen story structure and the screenwriting tools of dramaturgy used in contemporary motion pictures to impact audiences emotionally and intellectually. Effective story outlining paradigms are investigated, and story strengths and weaknesses are analyzed. Written film analysis assignments are required.

ADVANCED SCREENPLAY SCENE WRITING (3)
Prerequisite: Investigates the techniques and dramatic tools used to write powerful scenes for the screen. Emphasis on the creation of fully dimensional characters, use of visual elements, tempo, timing, descriptive style, and dialogue. This workshop course is product-oriented and students complete a screenplay project.

SEMINAR IN SCREENWRITING (3)
Prerequisite: Focuses on mastering the tools of screen story structure for outlining and writing feature-length motion pictures. Demonstrates how, in visual storytelling, character is revealed through behavior, and how good plotting means communicating with viewers about character development through progressive, linking story actions. This lecture and workshop course is product oriented. Students create and polish a detailed story outline and treatment for a complete, original feature-length film, and write the early pages of the screenplay that will be completed and rewritten in CTVA 622.

WRITING THE FEATURE SCREENPLAY (3)
Prerequisite: In this course, screen story structure creation undertaken in CTVA 525 will be continued to the completion of a feature-length screenplay. This is a product-oriented course.

THESIS SCRIPT PERPARATION (3)
Prerequisite: Instruction in the steps of thesis publication and individual guidance in developing original story ideas into full outlines for thesis screenplays. The first act of a feature-length thesis script is also written as preparation for final thesis completion and publication in CTVA 698C. This is a product-oriented course.