Class meets M-W-F: 10:00-10:50 a.m. in Cushwa B115

Prerequisite: English 1551

Required Texts:

Writing Screenplays That Sell by Michael Hauge

The Writer’s Journey: Mythic Structure for Storytellers & Screenwriters, 2nd Edition by Christopher Vogler

The Screenwriter’s Bible, 3rd Edition by David Trottier

Course packet of selected readings (at YSU Bookstore)

Course description: This class is an introduction to creative writing for beginners interested in developing screenplays for feature-length narrative films.  Previous film course experience is desirable but not necessary. 

 Nearly the entire course grade is based on your writing.  Expect to write multiple drafts of all written assignments. I will evaluate these drafts and work with you both individually and in groups to help you improve.

 The focus of the course will be on story structure, and we will screen one feature film and some clips to supplement the reading.  We will use a workshop format, and class members will be expected to read and respond to each other's work.  We will learn the structure and format of screenplays and how writing for movies differs from writing short fiction.  Your primary project in this course will be the creation of a screenplay of at least 30-35 pages.  THIS FINAL PROJECT MUST BE TYPED IN CORRECT SCREENPLAY FORMAT.

 Goals and Objectives:

1. Develop a story idea into a plot suitable for a feature-length movie.

2. Learn appropriate story structure for a feature length spec script.

3. Learn the difference between a spec script and a shooting script.

4. Learn correct screenplay formatting.

5. Create a complete story outline and write at least the first 30-35 pages of a screenplay.

 Attendance is very important.  Our workshop format depends upon everyone's participation, so you must make an effort to attend every class and do all assignments on time.  More than nine unexcused absences will result in a reduction of your final grade by one letter. More than fifteen absences of any kind will result in failure for the course.

Grading:  All assignments, graded and ungraded, must be completed in order to pass the course.  Your grade will be based on your participation in the workshop, the completion of a series of written assignments (exercises, quizzes, reader responses, etc.), a midterm portfolio, and a final project.  The grade will be determined by the following scale: class participation and short written assignments 25%, midterm portfolio (treatment, bone structures, step outline, etc.) 35%, final screenplay project 40%.  I reserve the right to refuse to accept an assignment that is turned in late.  Incompletes are given only if: 1. the student requests one, 2. previous work has been satisfactory, and 3. the reasons given are justifiable and are beyond the student's control.

 Tentative Weekly Schedule:

 Week One (January 13-15):
Introduction: creating your story; the three-act structure.
Begin reading Vogler, pp. 1-27 and Hauge, Chapters 1 and 2.
Story concept; the four character types: Hero, Nemesis, Reflection, Romance.

 Week Two (January 20-24):
Write drafts and revisions of story concepts. Discuss Vogler’s Seven Archetypes.
Continue reading Vogler, pp. 28-80.  (Note: No school on January 20th.)

 Week Three (January 27-31):
Screen Joseph Campbell and the Power of Myth: The Hero’s Journey.
Discussion: Campbell and Vogler. Read Hauge, Chapter 3.
First draft of working title, story concept, and opening image.
Methods of character identification: sympathy, jeopardy, and likeability.
Continue reading Vogler, pp. 81-144.

 Week Four (February 3-7):
Screen Hollywood Screenwriters, Vol. 1; Focus group responses to working titles.
Work on revisions of loglines and opening images.
Continue reading Vogler, pp. 144-300 and Hauge, Chapter 4.

 Week Five (February 10-14):
Screen Hollywood Screenwriters, Vol. 2.
Step outlines; group work on story ideas and character development.
Read Hauge, Chapters 5 and 6.

 Week Six (February 17-21):
Revision of opening images; screen clips for Thelma & Louise and Chinatown.
Screen Hollywood Screenwriters, Vol. 3.
Begin reading Trottier, Book 1; discuss Lethal Weapon script excerpt.

 Week Seven (February 24-28):
Revise treatments; Read Trottier, Book 2
Development of step outline.

Week Eight (March 3-7):
Character descriptions; Midterm Portfolio due March 7.

 Spring Break (March 10-14)

 Week Nine (March 17-21):
Introduction to formatting; drafts of formatted pages.
Continue reading Trottier, Book 3. (Note: Last day to withdraw is March 22nd at noon.)

 Week Ten (March 24-28):
Formatting continued; revisions of formatted pages.
Introduction of page design.  Read Trottier, Book 4.

 Week Eleven (March 31-April 4):
Screen The Karate Kid; read Hauge, Chapter 7.

 Week Twelve (April 7-11):
Discussion of The Karate Kid and Hauge’s Chapter 7 analysis of the film.

 Week Thirteen (April 14-18):
Individual conferences; bring revised, formatted pages.
Read Hauge, Chapters 8 and 9 and Trottier, Book 5.

 Week Fourteen (April 21-25):
The final push: Page design, turning points.
Read Hauge, Chapters 10 and 11 and Trottier, Book 6.

 Week Fifteen (April 28-May 2):
It’s a wrap: finishing your screenplay, WGA registration, finding an agent, pitching, and selling to Hollywood.  Course evaluation.

Final project and revised step outline due April 30.

 Exam Week:
Individual conferences: final screenplay projects returned.