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WRITING THE SHORT SUBJECT VM220-09 – Fall 2013 -- Tuesday We are the music makers And we are the dreamers of dreams --. --Willy Wonka, (via Arthur O’Shaughnessy) Instructor: Will Dreyfus Office: Ansin 915C Phone & E-Mail: 781/724-5489cell [email protected] Office Hours: Tuesday 5:00pm – 5:45pm drop-in -or- any other time – by appointment

[email protected]

Class Meeting Time: Tuesday, 18:00 – 21:45 Classroom: Ansin 604 Note: This syllabus is subject to change. Students will be notified of any and all changes during scheduled class periods. On the Art of the Short Subject A short subject film is more than just a feature cut down to ten or so minutes; it is its own fluid, living, breathing life (art) form that, without the constraints of the structural and conventional expectations of longer formats, allows the writer/director more creative freedom and artistic expression. The work that is studied and written for this course will be approached with the above in mind. Course Description & Objectives CATALOGUE DESCRIPTION: VM220 - Writing the Short Subject (4 Credits) studies the fundamentals of writing the short subject and how screenwriters use the visual language of film, structure, and character to create stories. Students will write three short scripts, ranging from 3-15 pages. Work will be narrative, non-narrative, and experimental. Students will complete comprehensive revisions of their work. COURSE OBJECTIVES: This course will introduce participants to three genres of short form – nonfiction (including documentary), experimental, and fiction (animation is included in any of these forms). Students will discuss the differences and components of each genre with the goal of developing an understanding of the art, craft, and discipline of each process from a writer’s point of view. Emphasis is on developing the writer’s individual personal vision. Participants will complete three scripts up to fifteen pages in length with outlines and revisions for at least one script. At least

one of the scripts must be considered suitable for production in an Emerson College film, video, or new media production class. LEARNING OBJECTIVES/OUTCOMES: 1) Develop a working understanding of standard screenplay formatting. 2) Develop a working understanding of the fundamentals of dramatic writing for short film. 3) Understand the differences between scripts that are 2-15 pages and feature-length. 4) Study the basic elements of structure and plot as applied to the short form. 5) Recognize and comprehend narrative, experimental and non-narrative short forms. 6) Study the basic elements of character as applied to the short form. 7) Understand the anatomy of a well-written and structured scene. 8) Become skilled at writing dialogue. 9) Learn how to engage in artful and practical revisions. 10) Become comfortable with generating and developing strong characters. 11) Learn to write for an audience. 12) Present approaches to film writing by drawing from life experiences. 13) Encourage the development of professional work habits. 14) Learn how to engage in artful and practical revisions. 15) Provide respectful, honest, thoughtful feedback of the writing of other course participants. REQUIRED TEXTS: 1. THE COMPLETE SCREENWRITER’S MANUAL: A Complete Reference of Format and Style. Stephen E. Bowles, Ronald Mangravite, Peter A. Zorn. 2. WRITING SHORT FILMS: Structure and Content for Screenwriters. Linda J. Cowgill 3. Students may be asked to print copies of their work for class workshops

Cell Phones/Laptops/Etc. When you are in class, it is expected that you will devote your full attention to the class, that you will respect the academic atmosphere, and treat others with the same consideration and courtesy that you would want for yourself. Laptops are allowed in class – however if a student using a laptop is found surfing the web or engaging in activities that are not related to the subject at hand they will be asked to leave the class and be given an ‘absence’ for the class. Additionally, their final grade will be downgraded one full grade. There is no due process; the instructor’s decision is final. Cell phones are not allowed in class. Grading Policy As stated in the Emerson College Undergraduate Catalog: “The College uses a system of letter grades and quality points to evaluate student performance. Grade point averages are computed on a scale where A = 4.0 (93-100), ,A- = 3.7 (90-92), B+ = 3.3 (87-89), B = 3.0 (83-86), B- = 2.7 (80-82), C+ = 2.3 (77-79), C = 2.0 (73-76), C- = 1.7 (70-72), D = 1.0 (60-69), F = 0 – 59 (failing).” Assignments must be handed in during the regular class period. Assignments MUST be handed in typed on paper. No assignments will be accepted via e-mail. Assignments not handed in during class will be downgraded for being late. Assignments not handed in on time will be downgraded; one class late or more without prior approval from the instructor will yield the grade of ‘0’ for the assignment. Final projects that are handed in late without prior approval of instructor will not be accepted and will earn a ‘0’. It is the policy of this instructor to give no incompletes. An additional note about grades. Learning to hit deadlines and to budget study and work time is part of the college experience. Much of VM220 is subjective, but some of it is not, therefore it is imperative that you hit deadlines and attend class on time. You earn your grade. For example, arriving on time, simply ‘going through the motions’, and attending class and handing in assignments on time will yield the grade of ‘C’ for the course. Additional effort made for class participation, engaging in challenging academic discussion, and aiding to the general forward momentum of the class will yield the grade of ‘B’. Written material that is truly inspired will yield the grade of ‘A’ for the course. Failure to attend multiple classes, missing assignments, not being prepared for class, or disrupting the class will yield a ‘D’ or ‘F’ for the course. Attendance and Tardiness Instructor Policy Due to the structure of this course, it is critical that participants attend each and every session. Students who miss class must have a documented illness. Participants who miss classes are required to get the class notes they’ve missed from a classmate.

There are only 13 classes. Life happens. But greater than one unexcused absence in the semester will yield the grade of 10-points lower per absence for the entire semester. Arriving at class more than 15 minutes late will result in being marked tardy for that class. Two tardy notations will be counted as one absence. You are expected to notify me if you are ill or have a family or personal emergency. As a courtesy, should you choose for any reason to use one of your unexcused absences, please email me. This notification does NOT excuse the absence. Emerson College Policy, listed below, is that missing class because of a production shoot is not an excused absence. College Policy Attending an out-of-class activity or event for another course may not be used as an excuse to disregard a given class’s attendance policy. A faculty member may not require a student to attend specified out-of-class activities that conflict with the student’s schedule for another class. In addition, Massachusetts state law requires that any student who is unable, because of religious beliefs, to attend classes or to participate in any examination, study, or work requirement on a particular day shall be excused from any such requirement. The student will receive an opportunity to make up the examination, study or work requirement which may have been missed because of such absence on any particular day provided, however, that such make-up examination or work does not create an unreasonable burden upon the College. No fees of any kind shall be charged by the institution for making available this opportunity to the student. No adverse or prejudicial effect shall result to any student who takes advantage of these provisions. Visual and Media Arts Department Any student enrolled in a course in the Department of visual and Media Arts who does not attend class during the first five days of a semester and who has not made prior arrangements with the instructor may be dropped from the class to make room for students on a waiting list for the course. This action can take place at the instructor’s discretion, regardless of any prior registration reason. Students will be re-admitted only with the approval of the course instructor, and if there is still room for an additional student in the class. Every student in this class will be honored and respected as an individual with distinct experiences, talents, and backgrounds. Students will be treated fairly regardless of race, religion, sexual orientation, gender identification, disability, socio-economic status, or national identity. Issues of diversity may be a part of class discussion, assigned material, and projects. The instructor will make every effort to ensure that an inclusive environment exists for all students. If you have any concerns or suggestions for improving the classroom climate, please do not hesitate to speak with the course instructor or to contact the Office of Diversity and Inclusion at 617-824-8528 or by email at [email protected]

#/DATE 1. 2. 3. 4. 5.

9/10 9/17 9/24 (9/21) 10/1 10/8

6. 10/22 7. 10/29 8. 11/5 (11/2) 9. 11/12 10. 11/19 11. 11/26 12. 12/3(11/30) 13. 12/10 .

ASSIGNMENT DUE Reflection on reading/ch 3 1st draft/1st script ** st Final draft/1 script Group 1: present shorts Reflection on reading/ch 1 – 2 Group 2: present shorts Reflection on reading/ch 4 – 5 Reflection on reading/ch 9 – 10 1st draft/2nd script ** nd Final draft/2 script Reflection on RAY’S Reflection on reading/ch 11 – 12 1st draft/3rd script ** rd Final Draft/3 script

LENGTH

% OF GRADE

2 – 3 pages 2 – 3 pages

15%

5 – 8 pages 5 – 8 pages

15%

12 – 15 pages 12 – 15 pages

20%

Participation/Attdnc.: 25% Reflections: 25% TOTAL: 100 points

** Workshop days** * Reflections on reading are 2 -3 paragraphs in length* • Writing Short Films: Structure and Content for Screenwriters by Linda Cowgill Make-up day: Sat, 12/7

Tentative Class Schedule (Subject to Change) Class #1/Sept 10: - Intro to course - Goals and expectations - Discuss syllabus - Screening – Zen and the Art of Landscaping - Reading assignment DUE next class: o WRITING SHORT FILMS, Chapter 3, pp: 34 - 61  Reflection on reading 2 – 3 paragraphs  Ch 3: Character and Emotion - DUE next week: create 3 characters for first short subject script Class #2/Sept 17: - Reflection DUE on reading, 2 -3 paragraphs - Formatting – part 1 - CHARACTER o Character picture exercise - Character breakdown – Zen and the Art of Landscaping (2nd viewing) - Pitch to class – 3 characters for first short subject script - Screening: Bad Animals - DUE next class: first draft of first short subject script o 2 – 3 pages in length o No dialogue - Scripts e-mailed to WD by 9/15 6pm Class #3/Sept 24: - Workshop first short subject script o Class broken into 2 groups: early group – late group - Assignment: 1st script/final draft DUE 9/25 o 2 – 3 pages in length o Proper format Class #4/Oct 1 - Collect first script/final draft hard copy - Conflict = tension; tension = drama o Conflict/tension/obstacle exercise - Reading assignment DUE next class: o WRITING SHORT FILMS, Chapters 1 and 2, pp: 3 - 32  Reflection on reading 2 – 3 paragraphs  Ch 1: Principles of Drama  Ch 2: Starting Out o WRITING SHORT FILMS, Chapters 1 and 2, pp: 2 – 32  Reflection on reading 2 – 3 paragraphs

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DUE next week o Group 1: present short film

Class #5/Oct 8: - Formatting Part 2 - Reflection due on reading, chapters 1 and 2 - Group 1 – present short films - Documentary: o Discussion and screenings – DANISH POET; DELUSIONS IN MODERN PRIMITIVISM  Documentary exercise - DUE next week: - Group 2: present short films - Reading assignment DUE next class: o WRITING SHORT FILMS, Chapters 4 and 5, pp: 64 - 98  Reflection on reading 2 – 3 paragraphs  Ch 4: Short Film Structure  Ch 5: Twists and Turns - Situation exercise o Brainstorming for ideas

Class #6/Oct 22: - Reflection DUE on reading, chapter 4 and 5 - Group 2: present short films - Pitch idea for second short script - Due next class – reflection on reading – - Reading assignment DUE next class: o WRITING SHORT FILMS, Chapters 9 and 10, pp: 149 - 175  Reflection on reading 2 – 3 paragraphs  Ch 9: Construction of a Scene  Ch 10: Dialogue Class #7/ Oct 29: - Dialogue exercise - DUE – Reflection on reading Chapters 9 and 10 - DUE next class: first draft of second short subject script o 5 - 8 pages in length o Dialogue, tension, character - Scripts e-mailed to WD by 10/20 6pm - Experimental shorts(MAESTRO, FITS AND STARTS) - ‘Openings’ exercise

Class #8/ Nov 5: - Workshop second short subject script o Class broken into 2 groups: early -- late - Assignment: 2nd script/final draft DUE 10/30 o 5 - 8 pages in length o Proper format Class #9/ Nov 12: - 2nd script final draft due/collect hard copy - DUE next class: Read RAY’S MALE HETEROSEXUAL DANCE HALL by Bryan Gordon o Reflections based on questions in handout Class #10/ Nov 19: - DUE: reflections on RAY’S o Screen RAY’S  Exercise in class: differences…? - Reading assignment DUE next class: o WRITING SHORT FILMS, Chapters 11 and 12, pp: 178 - 195  Reflection on reading 2 – 3 paragraphs  Ch 11: Subtext  Ch 12: Keeping Focused Class #11/ Nov 26: - DUE Reflection on reading/ch 11 – 12 Class #12/ Dec 3: - - Workshop third short subject script o Class broken into 2 groups: early -- late - Assignment: 3rd script/final draft DUE 12/4 o 12 - 15 pages in length o Proper format Class #13/ Dec 10: Final regular class - 3rd script final draft due/collect hard copy -