Intro to screenwriting
.pdf
School
New York University**We aren't endorsed by this school
Course
OART-UT 35
Subject
Arts & Humanities
Date
Jan 3, 2025
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10
Uploaded by CorporalSpiderMaster1151
1 Jeffrey Stanley jeffrey.stanley@nyu.edu Intro to Screenwriting (Tisch Open Arts) OART-UT 35-001, 4 credits New York UniversityTisch School of the Arts Open Arts Program Fall ‘24Tuesdays 5:00-7:45pm 719 Broadway, room 1228 COURSE OVERVIEW A screenplay is an artfully written instruction manual for how to make a motion picture. In this semester-long course we will explore that art and also learn the practicalities of the screenwriter's craft. We will also begin developing your feature- length screenplay regardless of whether you have a completed draft or are just starting to write. Learning to critique others' work is the best way to learn screenwriting, so aside from receiving feedback on your screenplay you will learn to professionally critique others' work, complete in- class and take-home writing assignments illustrating your understanding of the lectures, and ask me questions about anything you don't understand. I can't teach talent, but I can teach you the craft of screenwriting. If this were a carpentry course, I could describe to you the ideal coffee table and give you the skills to recognize the ideal coffee table when you see one. I could also teach you craft--how to make your own coffee table; but, each of you would build a different coffee table based on your talent and your unique artistic vision. This analogy applies perfectly to screenwriting. What's this class like? I'll spend one class every week giving you a lecture on a specific aspect of screenwriting and answering your questions, and we'll spend the other class workshopping your scenes. Be sure to listen, take notes and absorb the lectures every week, and ask lots of questions. Get your money's worth from me. And get your money's worth from each other. You're taking a class instead of a one-on-one tutorial because you want to get feedback from as many people as possible. We'll formally workshop your scenes in class, giving your peers and me a chance to comment on your work. Be sure to listen, take notes and absorb the lectures every week, and ask lots of questions. Get your money's worth from me. And get your money's worth from each other. You're taking a class instead of a one-on-one tutorial because you want to get feedback from as many people as possible. The final project is a polished draft of the first act of a feature-length screenplay (25-30 pages) and a step-outline of the remainder of the screenplay. The class and I will help you wherever you are in the creative and technical process of writing that screenplay. We'll do everything we can to help. Let's rock.
2 Course Requirements The attendance policy is simple: attend all classes, on time. If you know in advance that you're going to miss a class please inform me by e-mail as soon as possible, get the missed notes from a classmate, then let me know if you have any questions about it before trying the homework. There are no excused or unexcused absences. An absence is an absence. Ditto latenesses. Attendance is crucial in order for you to get the most out of the class. 3 latnesses=1 absence. It breaks down like this: 1 absence (or 3 latenesses) = A for the attendance part of your final grade, i.e., no penalty 2 absences (or 6 latenesses) = B+ for the attendance part of your final grade 3 absences (or 9 latenesses) = C+ for the attendance part of your final grade 4 absences (or 12 latenesses) = D+ for the attendance part of your final grade 5 or more absences (or 13 or more latenesses) = F for the attendance part of your final grade Every student is permitted two excused latenesses that will not be recorded as part of your final grade. Beginning with the third lateness, your final attendance grade will be dropped (from A to A- to B+ to B and so on, all the way down to F). Complete all in-class writing exercises and hand in all homework on time and complete. Both the in-class assignments and the homework will support the work you're doing on your own screenplay (in other words your final project). Doing these assignments is working on your screenplay. Handing in homework late will lower your final homework grade by one letter grade for each week that it is late. Still, late is always better than never. It breaks down like this: Homework submitted from after the due date and time up to 7 days late = B+ as highest possible grade for that assignment 8 to 14 days late = C+ as highest possible grade for that assignment. Homework more than 2 weeks late = D+ as highest possible grade for that assignment. Also, be sure to read and comment on your classmates’ workshop submissions (we’ll go over the specifics of this in class). Your reading of classmates' work and writing of notes will take varying amounts of time every week depending on the length of the work submitted. The workshopping part of the class is part of your homework grade for that week. Once assigned, your workshop due date cannot be made up if missed for any reason. Again, your final project is a first draft of the first act of a feature-length screenplay (25-30 pages) and a step-outline of the remainder of the screenplay. Don't worry, it's gonna be great and you'll be fine. Grading
3 Attendance/Participation (workshop comments) 25% of your final grade Homework/workshop submissions 25% of your final grade Final project 50% of your final grade Statement of Academic Integrity Plagiarism is presenting someone else’s original work as if it were your own. More specifically, plagiarism is to present as your own: • a sequence of words quoted without quotation marks• a paraphrased passage from another writer’s work• ideas, sound recordings, computer data, or images composed or created by someone else.Please refer to the Tisch Policies & Procedures Handbook for more. Statement of Principle The core of the educational experience at the Tisch School of the Arts is the creation of original academic and artistic work by students for the critical review of faculty members. It is therefore of the utmost importance that students at all times provide their instructors with an accurate sense of their current abilities and knowledge in order to receive appropriate constructive criticism and advice. Any attempt to evade that essential, transparent transaction between instructor and student through plagiarism or cheating is educationally self-defeating and a grave violation of Tisch School of the Arts community standards. For all the details on plagiarism, please refer to page 10 of the Tisch School of the Arts, Policies and Procedures Handbook which can be found online at: http://students.tisch.nyu.edu/page/home.html Health and Safety/Accessibility Your health and safety are a priority at NYU. If you experience any health or mental health issues during this course, we encourage you to utilize the support services of the 24/7 NYU Wellness Exchange (212-443-9999). Also, all students who may require an academic accommodation due to a qualified disability, physical or mental, please register with the Moses Center (212-998-4980). Please let your instructor know if you need help connecting to these resources. Open Arts Production Safety Guidelines (not relevant to this TOA class) All students working on Open Arts class-related film projects, media projects, and media-related exercises must follow the Tisch Open Arts General Production Safety Guidelines, available online at: https://drive.google.com/drive/u/0/folders/1btYRRv_AOSw_SIY7h0b-8hOY9-60wtCi Students should consult with their instructors to address questions about any media-related class projects. NOTE: Specific Open Arts classes will require students to complete supplemental production safety agreements. Use of Electronic Devices Laptops and tablets are encouraged for note-taking during class. Please do not surf, email, shop, Tweet, Like, Unlike, or play games during class time. All of your devices should be placed in Airplane mode as use of the Internet won't be required in class.Audio, video or photo recording of me, your
4 classmates, or any class content is strictly forbidden. Any such incidents will be immediately reported to the Department Chair. Title IX Policies and Procedures Tisch School of the Arts is dedicated to providing its students with a learning environment that is rigorous, respectful, supportive and nurturing so that they can engage in the free exchange of ideas and commit themselves fully to the study of their discipline. To that end Tisch is committed to enforcing University policies prohibiting all forms of sexual misconduct as well as discrimination on the basis of sex and gender. Detailed information regarding these policies and the resources that are available to students through the Title IX office can be found by using the following link: https://www.nyu.edu/about/policies-guidelines-compliance/equal-opportunity/title9.html Additional Resources This PDF contains a list of suggested books and links for Further Reading should you have interest. Content Advisory The film and television industry has a history of pushing the envelope and of causing discomfort. In some cases this discomfort is intentionally caused to examine difficult topics, some of which are violent or in other ways intentionally troubling to put us in the minds of the characters experiencing it. Other times, it's the result of ignorance or a cheap attempt to get people buzzing about an otherwise terribly made film. I try to stay away from content in this latter category. I've included a degree of discomfort with content to foster discussion, dissect difficult issues, and build awareness of this history and of these topics, e.g., showing short violent clips from certain films but not requiring that you watch any of these particular films in their entirety. I might deem appropriate the giving of an advisory on specific content, but if at any time anything we’re watching in class, violent or otherwise, is troubling to you for any reason such that you would prefer not to watch it, feel free to quietly excuse yourself from the room for a few minutes. All of the clips are short, and missing one or two of them won't make or break you in terms of the topic being covered in a given week. No student is required to watch content that would harm their mental well-being, and the line between discomfort and harm is different for each person.If you're still concerned about content, let's arrange a time to meet to explore accommodations and we’ll figure out something that works for you. Like film and television history, my course content is always evolving. Through thoughtful discussions with students I hope I can continue it in this direction. AI Policy The use of Artificial Intelligence (AI) writing tools, e.g., ChatGPT, is not permitted in this course for any reason. For more information, please refer to recent guidance from the NYU Provost's Office. Land Acknowledgement When I was in my 20s, I learned that my great grandmother on my biological father's side was a full-blooded Cherokee. I was always interested in history, so I knew something about the Cherokee, but this discovery about this hidden part of my ancestry made me even more passionate about learning as much as I could about my newly found heritage. I was born and raised in southwestern Virginia, but I was living in New York City at the time. When I would later go up to friends and say, "I just found out I'm part Cherokee," they would vaguely say, "Oh, so like, are you from Oklahoma? Are you an Okie?”
5 I'd say, "No, genius. The Cherokee out west were marched there at gunpoint from the East Coast. It was called the Trail of Tears. Thousands died on the march. A small group managed to stay behind by rapidly assimilating in order to keep their homes. That meant adopting Christianity and dressing like white people. They're called the Eastern Band of Cherokee and their descendants, my ancestors, are still there today." So I feel the need, the joy, the honor, of saying, as clumsy it as it might come out, that this land we're on today in New York City, once known as Manhattoe, used to belong to the Weckquaesgeek people, part of the Wappinger nation, and it had been theirs for a very long time. The trouble started when white people on the other side of my family tree showed up and everything quickly went to hell for the Weckquaesgeek. I ask that you ponder that and take a little time sometime to learn, as I'm always learning, more of that history, and maybe even more of the First Nations history of wherever in the US you call home. I encourage you to visit https://native-land.ca/ to discover the original inhabitants of the land where you live. Your acknowledgement is one small act in the ongoing process of learning and unlearning as well as working to be in a good relationship with the land and the people. How to Reach Me First and foremost, email me. I don't maintain regular online office hours but we will meet one-on-one at Tisch or via Zoom as needed during the semester. If you'd ever like to meet and chat with me about your work just let me know and we'll make a time .
6 COURSE SYLLABUS (this syllabus is an approximation only; it is subject to change at the instructor's discretion) Week 1 Tue 9/3 Structure Introductions. In-class exercise: make a list of the 5 most interesting people you've ever met. Discuss. Sign up for workshopping of student screenplay work beginning Week 3 - everyone gets to submit at least twice during the semester. The first time you submit, keep your work to 10 pages maximum. If you haven't begun writing your screenplay yet then submit a paragraph or two describing your story idea; it's all good. We're here to work on your screenplay no matter where you are in the writing process. The second time you submit, the work can be up to 30 pages. Once assigned, your workshop due date cannot be made up if missed for any reason. Handout Chinatown first 10 pages (email). Lecture: Ye Olde 3-Act Plot Structure Puccini's Last Opera(handout). Format Sample(handout). Mini-Lecture: Proper Screenplay Format Homework due next week: 1)Write a two-person scene that ends in a reversal (3 PAGES MAX, properly formatted). Email to me as PDF at jas4@nyu.edu. 2)Read the first 10 pages of Chinatown (handout). Write a few comment in your notes, including at least 2 specific things you liked and 2 specific suggestions for improvement. We will discuss it in class next week. 3)Reminder to the first 3 students scheduled to be workshopped – email Jeff a PDF of your work no later than the start of class next week. Week 2 Tue 9/10 Conflict 3-Act Structure and Format CONT’D Conflict Lecture. In-class exercise: workshopthe first 10 pages of Chinatowntogether. Homework due next week: 1)Read the student workshop submissions and respond, describing one specific thing you liked and one specific suggestion for improvement. 2)Write another 2-person scene (3 pages max) for your final
7 project, between your protagonist and antagonist that illustrates their mainconflict in your screenplay (think Act 2 Crisis or Climax). 3)See American Beauty. (Movie Links on Brightspace). 4)REMINDER: After next week, consider yourself locked into your screenplay idea for the rest of the semester. No switching of ideas will be allowed after Week 3. Week 3 Tue 9/17 Plot and Story Conflict homework due by email and workshop comments due on Course Site. Discuss American Beauty using the craft elements we've covered so far. Lecture: Plot and Story Homework due next week: 1)Tell me in writing (written prose, not just notes or a list, ONE PAGE MAX) what your final project screenplay is about from beginning to end (focus on plot, not story), or as much as you know at this point. Also include the title, genre, major theme, and intended audience for your screenplay. SEND AS E-MAIL TEXT. 2)Next workshop students email Jeff their work. Everyone else read them and post your comments. 3)REMINDER: You are now locked into your screenplay idea for the rest of the semester. No switching of ideas is allowed. Week 4 Tue 9/24Character Lecture: Writing Realistic Characters Homework due next week: 1)Write a new scene from your screenplay (one that I haven't seen yet; 3 pages max) but do not tell me the characters' names. Remove their names and relabel them as Character 1, Character 2, etc. Ask yourself, will a reader (Jeff) be able to tell them apart just by their character elements? 2)See Chinatown(Movie Links on Brightspace) 3)Next workshop students email Jeff your work. Everyone else read them and post your comments. Week 5 Tue 10/1 DialogueLecture: Writing Believable Dialogue Character and workshop comments homework due. Discussion of Chinatown using the craft elements we've covered so far. In-class exercise: read pp. 80-82 of Chinatown (handout). Now reverse-engineer the scene.
8 What are Jake and Cross really saying to each other? Write down the subtext of what is being said in the right margin beside each character's dialogue. And write a 1, 2, or 3 indicating whether it's 1st-level ("on the nose"), 2nd- level, or 3rd-level. Discuss. Homework due next week: 1)Write a new scene (3 pages max) from your screenplay in which you have written the subtext and dialogue level underneath each line.2)Next workshop students email Jeff their work. Everyone else read them and post your comments. Week 6 Tue 10/8 Step Outline and Treatment Lecture: Step Outline and Treatment Dialogue and workshop comments homework due. Homework due next week: Write the “act two crisis” scene for your screenplay. You might want to rewrite your previous protagonist/antagonist conflict homework or come up with something new. OCTOBER 15th– NO CLASS Week 7 Tue 10/22Comedy In-class exercise: write a step outline for the first 15 minutes of your screenplay; that is, from the opening scene up through the protagonist’s “action-out-of- habit.” Write no more than the equivalent of 2 typed lines of description for each step. Discuss. Lecture: Comedy Act Two Crisis homework due. Homework due next week: 1)See The Naked Gun. Bobst Library Avery Fisher Center, 2ndfloor, call number DVD 13659. (Available online at TBA) 2)See My Man Godfrey(1936 original), DVD 456 or VCA 6586, OR you can watch it free on youtube (I will provide you with the link). Be sure to watch the entire 1936 film, not just excerpts.3)Rewrite the first 3 pages of your screenplay to make it farce. Week 8 Tue 10/29 DramaLecture: Drama Comedy homework due.
9 In-class discussion of The Naked Gunand My Man Godfrey. Homework due next week: 1)Write a paragraph about a time your protagonist had to face death, and a dead body. This can be in your screenplay, or part of the protagonist's back story that gets alluded to in the screenplay. 2)2NDROUND WORKSHOPS BEGIN: assigned students email Jeff your work. Everyone else read them and post your comments. Once assigned, your workshop due date cannot be made up if missed for any reason. Week 9 Tue 11/5Telling Others About Your Screenplay (The Pitch) Lecture: The Pitch Drama and workshop comments homework due. Discuss "The Buzz at Pitchmart" and "The Art of the Pitch" articles Homework due next week: 1)Jump ahead and take a stab at writing the last scene of your screenplay; in other words the tail end of the climax, and the resolution. 3 pages max. 2)Come to class prepared to pitch your screenplay to us. Time to let the cat out of the bag. 3)Read Lynda Obst article “Pitch Etiquette” (handout). 4)Next workshop students email Jeff your work. Everyone else read them and post your comments. Week 10 Tue 11/12 What To Do When You Finish Your Screenplay Lecture: What To Do Next Last scene and workshop comments homework due. Contestsand Sample Query Letterhandouts. Homework due next week: 1)None! Keep working on your final project. 2)Next workshop students email Jeff your work. Everyone else read them and post your comments. Week 11Tue 11/19Breaking the Rules: Indie Film Lecture: Indie Film Last scene and workshop comments homework due. Homework due next week: 1)Watch an assigned independent film (TBA). 2)Keep writing your final project!
10 3)Next workshop students email Jeff your work. Everyone else read them and post your comments. Week 12 Tue 11/26 Discuss the assigned independent film and answer any questions related to your final project. Week 13Discussion and screenings on independent film, continued. Tue 12/3Week 14 Potentially, a guest speaker (TBD). Final screening and discussion on independent film.Tue 12/1 FINAL DUE FINAL PROJECTS DUE BY EMAIL as PDF no later than 12:00pm NOON. Mon 12/16 NO EXCEPTIONS, NO LATE SUBMISSIONS WILL BE ACCEPTED. THE END Jeffrey Stanley is a playwright, performance artist, director, screenwriter, filmmaker, essayist and 2022-24 Fulbright Alumni Ambassador. He was a 2018-19 Fulbright-Nehru Scholar in India where he researched theatre and film history, about which he is currently writing a book. Stanley's stage play Tesla's Letters (Concord Theatricals, 2000) premiered to rave reviews Off Broadway in 1999 and went on to national and international productions including the Edinburgh Fringe. He is a past president of the board of directors of the New York Neo-Futurists experimental theatre ensemble, he has been a fellow at Yaddo, a Copeland Fellow at Amherst College, and a guest screenwriting lecturer at the Imaginary Academy summer film and theatre workshop in Croatia sponsored by the Soros Foundation. He has won numerous screenwriting awards and has optioned or been hired to write scripts for Peter Farrelly & Charles B. Wessler, GreeneStreet Films, Barbara Kopple's Cabin Creek Films, Andrew Lauren Productions, and others. His award-winning short film Lady in a Boxstarring Sarita Choudhury, which started as a short play, has been licensed numerous times for international broadcast and distribution. He has worked as a script consultant for UK-based Initialize Films and an analyst and judge for the Script Savvy Screenplay Contest. He was one of 24 writers chosen from over 16,000 entrants for the first Amtrak Writers Residency in 2014-15, and served as a residency judge for the 2015-16 competition. Stanley has appeared as a guest writer in the Washington Post, New York Times, Time Out New York, New York Press, Brooklyn Rail, Contingent Magazine and the peer-reviewed scholarly journals Race & Class and Democratic Communiqué, and he was a senior editorial adviser to Boston University's Center for Millennial Studies' book on apocalypse movements The End That Does (Routledge Books, 2006). He is a member playwright of the invitation-only International Theatre Initiative (ITI), a UNESCO-sponsored world theatre education program. He holds an MFA in Dramatic Writing from New York University Tisch School of the Arts where he studied under playwrights Tina Howe, David Ives and Tony Kushner, and a BFA from Tisch in Film & Television Production. He has taught a course he created, Theatre History for Actors, at the Lee Strasberg Theatre & Film Institute. In addition to teaching at Tisch, he is an adjunct faculty at Drexel University Westphal College of Media Arts & Design.