FLM4201 Scriptwriting - Creativity and Technique Module ... - QMplus

module outline FLM4201/Scriptwriting: Creativity and Technique

Department of Film Studies School of Languages, Linguistics and Film Queen Mary, University of London Pre-requisite: none Assessment: 2000 word essay (50%); 10 -15 pages original script (50%) Credit Value: 30 credits Level: 4 Semester: 1 Module convener: Athena Mandis [email protected]

All students must ensure that they obtain a copy of the School handbook handbook and follow the School's guidelines and regulations in all matters regarding this module. Students must note that failure to do so may result in de-registration from the module, which may have a significant impact on their overall degree classification Course description This course is compulsory for single honors film studies students and carries 30 units. Students will be asked to produce an original script as well as analyse filmed scripts. Students will produce a short script based on their story/treatment. The course will establish the ability to understand the context of reading scripts as well as preparing students to write a short original film script with coherent dialogue, exposition and structure. It will develop knowledge of scriptwriting; format, structure, character, dialogue, exposition and how to assess a script using appropriate terminology such as back story, suspense and set ups and pay offs. You will be required to write a story that you will then format into a script. This script will form part of your assessment. Your second assessment is an essay based on a film screened as part of the module. This module aims: • • • • •

To provide an understanding of story structure, looking at both three and five act structures To provide tools with which to develop character, generate new ideas and develop current ideas To provide an insight into page to screen To provide an understanding of the script within the cinema system To provide an insight into some of the theoretical debates surrounding scripts.

LEARNING OUTCOMES OF THE MODULE On successful completion of this module students will have: Knowledge of close analysis of scripts. Knowledge of scriptwriting; format, structure, character, dialogue, exposition Knowledge of terminology related to narrative storytelling and the ability to apply and use this knowledge in a creative writing context The ability to write a short script with exposition and structure The ability to develop an original script The ability to generate and develop story ideas The ability to respond and develop ideas from feedback and in a group context

Weekly plan and reading list. Please note all reading material is available on QMPLUS and is organized under subject heading which follow in a chronological order. The following two books feature quite heavily and are worth having as you will probably reference then throughout your time at QMUL if you wish to continue down the Scriptwriting pathway. John Yorke, Into the Woods: How Stories work and why we tell them Penguin 2013 Syd Field. Screenplay. The foundations of screenwriting. Delta 2005. CLASS INFORMATION Over the course of 12 weeks you will work to produce an original script and gain an understanding of how scripts work by not only creating original work but also by looking at classic films. Week 1 Generating ideas How does one get started, when all they have in front of them is a blank page? Reading list Pat cooper & Ken Dancyger Writing the Short Film: Focal Press. 2000. “Story Telling in General” in (pp11-18) Joseph McBride, Writing in Pictures: Screenwriting Made (mostly) Painless; Faber & Faber 2012. Chapter 3 “Stories what they are made of and how to find them?”

John Yorke, Into the Woods: How Stories work and why we tell them Penguin 2013 (pp3-23) Week 2 Creating Characters. To bring. Bring with you a picture of a person you do not know, you may find a face on-line or in a magazine that you think is interesting, avoid famous people or models. The picture can be of someone young or old. If you are feeling adventurous checkout the second-hand stores for old family photographs. Reading List John Yorke, Into the Woods: How Stories work and why we tell them Penguin 2013 (pp123-134 + chapter 14) Dara Marks, Inside Story A & C Black Publishers 2009 (pp53 – 69) Pat cooper & Ken Dancyger Writing the Short Film: Focal Press. 2000. (Chapter 4) Craig Batty & Zara Walderback Writing for the Screen Palgrave McMillan. 2008 (Chapter 2) Blake Snyder, Save the Cat Michael Wiese Productions. 2005 (pp47 – 65) Ed. Jil Nelmes. Analysing the Screenplay “Character in the screenplay text” by Steven Price. Routledge. 2011 Syd Field. Screenplay. The foundations of screenwriting. Delta 2005. (Chapter 3 +4) Week 3 What do we mean by “structure” To bring Bring with you an image which conveys action. This can be found from any source. Also bring with a story from a newspaper, old or new. Reading list Aristotle Poetics Blake Snyder, Save the Cat Michael Wiese Productions. 2005 Chapter 2 Dara Marks, Inside Story A & C Black Publishers 2009 (chapter 2) John Yorke, Into the Woods: How Stories work and why we tell them Penguin 2013. (pp84-89) Linda M. James. How to Write Great Screenplays How to Books. 2009. (pp26-28)

Pat cooper & Ken Dancyger Writing the Short Film: Focal Press. 2000. (Chapter 5) Syd Field. Screenplay. The foundations of screenwriting. Delta 2005. (Chapter 9) Week 4 What stories are out there? Find and familiarise yourself with a well know story, this could be a mythological story, a fairytale, any one of Shakespeare’s or Classic Greek plays. Know the story you have chosen well. Week 5 What is genre? Reading list Linda M. James. How to Write Great Screenplays How to Books. 2009. Chapter 10. Craig Batty & Zara Walderback Writing for the Screen Palgrave McMillan. 2008 (pp82-88) Ed. Jil Nelmes. Analysing the Screenplay “flexibility in genre” by Ken Dancyger. Routledge. 2011 Lucy Scher, Reading Scripts Kamera Books 2011. Chapter 1

Week 6 Developing stories and writing treatments Bring with you the stories you have written so far. John Yorke, Into the Woods: How Stories work and why we tell them Penguin 2013 (Chapters 2 – 5) Dara Marks, Inside Story A & C Black Publishers 2009 (chapters 6 - 9) Craig Batty & Zara Walderback Writing for the Screen Palgrave McMillan. 2008 (pp82-88) Pat cooper & Ken Dancyger Writing the Short Film: Focal Press. 2000. (Chapter 9) Week 8 Small group tutorials to discuss individual stories. You will meet in groups of 5 with your tutor for 90 mins to work through your individual stories overa 2/3 day period. Reading list John Yorke, Into the Woods: How Stories work and why we tell them Penguin 2013 (chapter 9)

Syd Field. Screenplay. The foundations of screenwriting. Delta 2005. (Chapter 10) Week 9 Script formatting and breaking rules Reading Linda M. James. How to Write Great Screenplays How to Books. 2009. Chapter 11 Joseph McBride, Writing in Pictures: Screenwriting Made (mostly) Painless; Faber & Faber 2012. Chapter 9 Syd Field. Screenplay. The foundations of screenwriting. Delta 2005. (Chapter 13) Week10 Scenes Reading list John Yorke, Into the Woods: How Stories work and why we tell them Penguin 2013 (chapter 9) Syd Field. Screenplay. The foundations of screenwriting. Delta 2005. (Chapter 10) Week 11 Dialogue Reading List Ed. Jill Nelmes. Analysing the Screenplay “realism and screenplay dialogue” by Jill Nelmes. Routledge. 2011 Pat cooper & Ken Dancyger Writing the Short Film: Focal Press. 2000. (Chapter 11) Linda M. James. How to Write Great Screenplays How to Books. 2009. Chapter 8 John Yorke, Into the Woods: How Stories work and why we tell them Penguin 2013 (chapter 15+16 + 17) Craig Batty & Zara Walderback Writing for the Screen Palgrave McMillan. 2008 (chapter 5+ 12) Joseph McBride, Writing in Pictures: Screenwriting Made (mostly) Painless; Faber & Faber 2012. Pp.127134 + 165-166 Week 12 No formal class. I will have a notice up on my door for you to book appointments with me individually to discuss your scripts. Delivery:

Unlike other modules, the delivery for this module will vary over the course of the term. It is vital you consult the teaching outline for when there is a change. The module uses a variety of delivery methods: whole class taught sessions with workshops, small group meetings, and screenings.

Independent Group work: Due to the fact that this is a 30 unit module in one semester, there is a considerable about of reading to be done. Each week you will be tasked with a creative writing brief. This work will go towards developing the script you eventually have to write for the assignment. Success on this module depends on you undertaking these weekly tasks, this is not something you can leave till the end.

ASSESSMENT During the module you will complete TWO pieces of assessed work. Further guidance will be given with regards assessment tasks nearer the time and there is a fuller description of each task on the QM+. What follows is a brief overview. Exact deadlines can be found on QM+ The Assessed assignments are:

1. Script based on story outline submitted in week 7 (10 to 15 pages) 50% weighting Deadline: end of week 1 semester 2 Write a script for a short film based on your story outline. The script will be 10 to 15 pages in length. This script may be a direct transposition of your treatment into the script format, but it is more likely that it will develop. You will not be marked down for moving away from your original source, and your submitted script will be assessed as an individual piece of work – however you must not submit script that makes no use of the characters, plot and script of the original treatment/story. It is important to note that you must also follow the correct format for screenplays (Courier, 12 point, etc., to ensure the pages are the correct size)

Script based on submitted treatment: Indicative Marking Criteria

20%

Standard of English: spelling, punctuation and grammar.

20%

Script Format: correct use of the script format and technique taught on the course

20% Character: Establishing and developing character, establishing and developing character relationships; character consistency and coherence. 20% Plotting: Plot clarity, coherence, development and resolution. Use of dramatic techniques for storytelling such as suspense, reversals, climaxes etc. 20% Creativity: Ability to integrate, style, character and plotting into a unified narrative, which is dramatically effective: The ability to devise a story that utilises existing narrative forms, genres and styles, but in doing so avoids being a direct resemblance to any specific and particular narrative.

2. Essay (2000 words) - 50% weighting Deadline: Week 12 semester 1 Choose a film from any of the year 4 modules. Please be aware that if you chose to write about one film for one module you will not be allowed to write about that film for another.

Identify the ways in which [title of film] ‘s script works with similarities to other films in the history of cinema, and differences from other films.

Be sure to look closely at the film and make specific references, copy lines out, describe scenes. Do Not be Generic!

Be sure to understand the difference between the direction of the film and the writing of the script.

Make sure you reference secondary sources to support your arguments in the essay.

Many scripts can now be found online www.simplyscripts.com is one of the many sites you can use.

Non-assessed Assignments This is an assignment that although not assessed, is preparation for your assessed work.

1.

Story, week 7 In week 8 you will be given detailed feedback to enable you to develop it into a script.

SUBMISSION OF COURSEWORK

All written coursework must be submitted electronically via QM+ (please note that the exact dates for coursework submission can be found on QM+).

Returning coursework All work will be returned within a set out date. Once I receive the work from the office, you will be emailed with a return date – 4 working weeks from when I have the printed work

SLLF WRITING SUPPORT CENTRE

The SLLF Writing Support Centre, based in Francis Bancroft 2.38, offers help to all undergraduate students who would like to develop their writing skills further. Students can bring along essays that they are working on or essays that have already been marked; we then explore ways of extending a range of skills structuring an argument, referencing material accurately, critically re-reading one's own work, thinking about grammar and syntax if necessary.

There are three weekly workshops at fixed times throughout semesters 1 and 2. These are run on a drop-in basis. You can also book for an individual 30-minute session at any point in the academic year (semesters 1,2,and 3).

Full details of workshop times are advertised on the LCD screens, on staff doors and by weekly email to students.

All sessions are informal, non-judgmental and friendly - we are all learners at whatever stage we have reached.

To find out more, or to book a session, please contact: Dr Kirsteen Anderson Email: [email protected]

Developing Your Graduate Attributes

The Queen Mary Statement of Graduate Attributes identifies 32 attributes grouped into 7 themes. Through your studies you will be provided with many opportunities to develop these attributes. The following table identifies the attributes that you can develop by actively engaging in teaching and learning and assessment activities of this module. By reflecting on your development of these attributes you will be able to improve your understanding of your own employability.

Engage critically with knowledge Acquire and apply knowledge in a rigorous way Connect information and ideas within their field of study Use writing for learning and reflection Adapt their understanding to new and unfamiliar settings

Have a global perspective Accept the responsibilities that come from taking a global perspective Recognise the value of operating in more than one language Work effectively in diverse communities Engage with the professional world

Learn continuously in a changing world Acquire new learning in a range of ways, both individually and collaboratively Possess the skills to influence, negotiate and lead Respond appropriately to criticism Use quantitative data confidently and competently

Rounded Intellectual Development Good judgement Curiosity and openness to change Initiative and resilience in meeting challenges Respect for the opinions of others and a readiness to act inclusively

The ability to reflect upon and assess their own progress Transferable key skills to help them with their career goals and their continuing education

Clarity of Communication Develop effective spoken and written English Explain and argue clearly and concisely Apply different forms of communication in various social, professional and cultural settings Use communication technologies competently

Research Capacity Grasp the principles and practices of their field of study Produce analyses which are grounded in evidence Apply their analytical skills to investigate unfamiliar problems Work individually and in collaboration with others Develop a strong sense of intellectual integrity Acquire substantial bodies of new knowledge

Information Expertise Identify information needs appropriate to different situations Use technologies to access and interpret information effectively Critically evaluate the reliability of different sources of information Use information for evidence-based decision-making and creative thinking