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General Information

Course ID (CB01A and CB01B)
F/TV D064A
Course Title (CB02)
Advanced Screenwriting Workshop I
Course Credit Status
Credit - Degree Applicable
Effective Term
Fall 2023
Course Description
Fictional screenwriting geared toward the planning, outlining and structuring of an original three-act feature-length fiction screenplay and the writing of the first act.
Faculty Requirements
Course Family
Not Applicable

Course Justification

This course is a major preparation requirement in the discipline of Film/Television for at least one CSU. It belongs on the Film/TV: Screenwriting AA degree. In order for a screenplay to be considered Marketplace-worthy, students must learn advanced techniques in screenwriting.

Foothill Equivalency

Does the course have a Foothill equivalent?
No
Foothill Course ID

Course Philosophy

Formerly Statement

Course Development Options

Basic Skill Status (CB08)
Course is not a basic skills course.
Grade Options
  • Letter Grade
  • Pass/No Pass
Repeat Limit
0

Transferability & Gen. Ed. Options

Transferability
Transferable to CSU only

Units and Hours

Summary

Minimum Credit Units
4.0
Maximum Credit Units
4.0

Weekly Student Hours

TypeIn ClassOut of Class
Lecture Hours4.08.0
Laboratory Hours0.00.0

Course Student Hours

Course Duration (Weeks)
12.0
Hours per unit divisor
36.0
Course In-Class (Contact) Hours
Lecture
48.0
Laboratory
0.0
Total
48.0
Course Out-of-Class Hours
Lecture
96.0
Laboratory
0.0
NA
0.0
Total
96.0

Prerequisite(s)

F/TV D060B or F/TV D060C

Corequisite(s)

Advisory(ies)

EWRT D001A or EWRT D01AH or ESL D005.

Limitation(s) on Enrollment

Entrance Skill(s)

General Course Statement(s)

Methods of Instruction

Lecture and visual aids

Discussion of assigned reading

Guest speakers

Collaborative learning and small group exercises

Assignments

  1. Weekly reading from assigned textbooks and produced feature scripts
  2. Create a 40-word or less logline
  3. Write a 3-page synopsis
  4. Create a full beat sheet
  5. Write a scene list for the first act
  6. Write the first act of a feature screenplay
  7. Seven-minute story pitch

Methods of Evaluation

  1. Written assignments demonstrating comprehension of more advanced-level screenwriting techniques, including the ability to breakdown character development and story structure using character charting of positive traits, flaws, fears, emotional voids, and the six layers of status (power).
  2. Logline critique demonstrating students' comprehension on the genesis of a viable cinematic narrative including singular protagonist, tangible goal, antagonism, and "why do we care"
  3. The Treatment is evaluated by the student's ability to demonstrate comprehension of three-act structure in an expanded version of the logline, thereby giving writer and reader a more expanded understanding of the story and characters
  4. The completed beat sheet with the advanced-level 22 narrative plot points and sequences demonstrates students' ability to understand classic narrative storytelling and develop viable screenplays
  5. Creation of scene list/scene loglines demonstrates the students' ability to advance the narrative forward in a logical and interesting manner while also highlighting character needs, motivations, and intentions
  6. The first act of the screenplay is evaluated by the students' ability to apply practice and theory to their own original developed work, written up through "The Point of No Return," the set-up of the film
  7. As a final examination, the seven-minute pitch is evaluated by the students' ability to present themselves and their screenplay orally, essential in the industry

Essential Student Materials/Essential College Facilities

Essential Student Materials: 
  • None.
Essential College Facilities:
  • DVD and VHS decks with large screen color monitor, computers and script-formatting software

Examples of Primary Texts and References

AuthorTitlePublisherDate/EditionISBN
Landau, Neil. "The Screenwriter's Roadmap: 21 Ways to Jumpstart Your Story." Focal Press, 2012.
Walter, Richard. "Essentials of Screenwriting." Plume, 2010.

Examples of Supporting Texts and References

AuthorTitlePublisher
Ackerman, Hal. "Write Screenplays That Sell The Ackerman Way." Tallfellow, 2003.
Akers, Williams. "Your Screenplay Sucks!: 100 Ways to Make It Great." Micheal Wiese, 2008.
Chitlik, Paul. "Rewrite 2nd Edition: A Step-by-Step Guide to Strengthen Structure, Characters, and Drama in your Screenplay." 2nd Edition. Michael Wiese Productions, 2013.
Egri, Lajos. "The Art of Dramatic Writing." Merricat, 2009.
Field, Syd. "Screenplay: The Foundations of Screenwriting." Delta, Revised Edition 2005.
Hunter, Lew. "Lew Hunter's Screenwriting 434: The Industry's Premier Teacher Reveals the Secrets of the Successful Screenplay." Perigee, Revised Edition 2004.
McKee, Robert. "Story: Substance, Structure, Style and The Principles of Screenwriting." ReganBooks, 1997.
Russin, Robin. "Writing the Picture." Silman-James, 2003.
Snyder, Blake. "Save The Cat! The Last Book on Screenwriting You'll Ever Need." Michael Wiese, 2005.
Tierno, Michael. "Aristotle's Poetics for Screenwriters." Hyperion, 2002.
Truby, John. "The Anatomy of Story: 22 Steps to Becoming a Master Storyteller." Farrar, Straus and Giroux, 2008.

Learning Outcomes and Objectives

Course Objectives

  • Analyze and apply the narrative structure of a traditional three-act screenplay with plot points that drive the story and expand the characters.
  • Interpret and apply the elements of plot and story generation.
  • Interpret and apply the elements of character and development.
  • Interpret and apply the elements of dialog
  • Evaluate works-in-progress with the class and participate in the collaborative evolution of student screenplays.

CSLOs

  • Demonstrate a command of generating, planning, and outlining a feature-length narrative fiction screenplay through logline, beat sheet, scene list.

  • Write the first act of a three-act feature-length fiction screenplay.

Outline

  1. Analyze and apply the narrative structure of a traditional three-act screenplay with plot points that drive the story and expand the characters.
    1. Using successful screenplays and produced films as models, students will analyze and apply to their own works all plot points and methods of traditional storytelling and structure of Act One including Opening Image, Opening Hook, Inciting Incident, the Mini Crisis and the Point of No Return.
    2. Analyze and apply the plot points that comprise of a successful Act Two, including the B-Story, The Test, The One-Hour Turning Point, The Big Pit, and Rock Bottom.
    3. Analyze and apply the Third Act elements of the Climax, Resolution, New World Order, and Closing Image.
    4. Analyze and apply Act 2 story connector sequences such as "Popcorn/Trailer Moments," "Sequence to the Midpoint," "Hero's Melting," and "Antagonists closing in."
  2. Interpret and apply the elements of plot and story generation.
    1. Creation of a viable logline is the first step in the development of the screenplay.
    2. Expansion into treatment, the synopsis of what the movie is about.
    3. Writing of Beat Sheet is important in order to track the direction of the story and knowing that all key plot points are being met.
    4. Creating a complete three-act scene list is essential as an outline to guide the screenwriter.
    5. Creating the first 10 pages, "The Ordinary World," is the most important.
    6. Once "The Ordinary World" is as strong as possible, write all the way to the end of Act One, "The Point of No Return," no later than the 30-page mark.
  3. Interpret and apply the elements of character and development.
    1. Protagonists need a goal and the Antagonists stand in their way and keep them from achieving said goals.
    2. Characters are defined by actions and reactions to conflict, plot, and other characters.
    3. Goals, motivations, needs, and wants.
    4. Secondary characters, love interests, posses, relationships.
    5. Walking the line of good and evil is a way of making sure the "good guys" are not too saccharine and the "bad guys" are not too unbelievable.
    6. Avoiding stereotypes at all costs is essential when creating stories and characters.
    7. Major negative and positive defining characteristics including fatal flaws, deepest fears, emotional voids and the character's paradox must be established in the Ordinary World.
    8. Character arcs must be credible and consistent and must track cleanly.
    9. "Before" vs "after." Opening images vs closing images.
    10. Apply the principles of "Method Writing" in order to truly engage the audience through the characters' emotional journey.
    11. Understand the element of the protagonist epiphany at the end of the second act.
    12. Applying the concept of the hero's sacrifice.
    13. Applying the principles of "Fake" vs. "Real" goals.
    14. Applying principles of Hero vs. Monster (Protagonist vs. Antagonist)
    15. Understanding and applying the principles of the six types of character status:
      1. Social
      2. Institutional
      3. Financial
      4. Intellectual
      5. Physical
      6. Emotional
    16. Using B-characters as the mentor.
    17. Applying a theoretical definition of what makes for a satisfying movie: "In order for a film to be satisfying in the end, the protagonist must recognize and overcome his/her fatal flaw through the help of the B-Story character, make a sacrifice by facing his/her greatest fears no matter how high the stakes, hold him/herself to a higher standard and do the right thing in order to fill the emotional void."
  4. Interpret and apply the elements of dialog
    1. "Real" vs. "Reel" speak. No one goes to a fiction movie to listen to real people talk.
    2. Dialog must expand character and advance story.
    3. Subtext must be incorporated in order to avoid "on-the-nose" dialog and exposition.
    4. Every character must have a unique voice and attitude.
    5. Show, don't tell.
  5. Evaluate works-in-progress with the class and participate in the collaborative evolution of student screenplays.
    1. Group feedback and constructive criticism.
    2. Validate the principal that screenwriting, and film and television in general, is truly a collaborative enterprise.
    3. Oral pitching is essential for solidifying story viability as well as learning to present oneself in professional story development meetings.
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